Unbound Fashion

Meet the costume designers behind the onstage looks of Unbound

Myles Thatcher’s Otherness // © Sylvie Rood
REID BARTELME

Costume Designer for Justin Peck’s Hurry Up, We’re Dreaming and Trey McIntyre’s Your Flesh Shall Be a Great Poem

Reid Bartelme is a New York-based fashion and costume designer who specializes in costuming dance. Born in New York, he trained at Pacific Northwest Ballet School and danced with BalletMet, Alberta Ballet, and Shen Wei Dance Arts. Bartelme then enrolled at the Fashion Institute of Technology, where he met Harriet Jung (below). Bartelme and Jung founded Reid & Harriet Design in 2011. Collaboratively, they have worked with choreographers Justin Peck, Doug Varone, Pam Tanowitz, and Matthew Neenan, and designed productions for New York City Ballet, American Ballet Theatre, Pacific Northwest Ballet, Hubbard Street Dance Chicago, and Miami City Ballet.

SF Ballet in Reid Bartelme and Harriet Jung’s costumes for Justin Peck’s Hurry Up, We’re Dreaming // © Erik Tomasson

CHRISTINE DARCH

Costume Designer for Dwight Rhoden’s LET’S BEGIN AT THE END

Christine Darch has designed and constructed costumes for Julia Adam, Jorma Elo, Nicolo Fonte, James Kudelka, Matthew Neenan, David Palmer, Amy Seiwert, Mérian Soto, and Septime Webre, among others. She is the resident designer for Complexions Contemporary Ballet and collaborates frequently with Dwight Rhoden. Darch is the longtime partner of American ballet composer Matthew Pierce. Her home and studio are in East Northport, Long Island.

SF Ballet in Christine Darch’s costumes for Dwight Rhoden's LET'S BEGIN AT THE END // © Erik Tomasson
HOLLY HYNES

Costume Designer for Stanton Welch’s Bespoke

Holly Hynes is a costume designer of ballet, opera, and theater. She has designed costumes for American Ballet Theatre, the Bolshoi Ballet, The National Ballet of Canada, The Royal Ballet, Paris Opera Ballet, and Suzanne Farrell Ballet, where she was resident costume designer. Hynes served as the director of costumes for New York City Ballet for 21 years, and acts as the primary authority for original costume reproduction for the Jerome Robbins Estate and the George Balanchine Trust. Hynes’ theatrical design credits include two Broadway productions and The Metropolitan Opera’s La Gioconda. Four of her costume renderings are in the permanent collection of the Museum of the City of New York.

Frances Chung and Esteban Hernandez in Holly Hynes’ costumes for Stanton Welch's Bespoke // © Erik Tomasson

HARRIET JUNG

Costume Designer for Justin Peck’s Hurry Up, We’re Dreaming and Trey McIntyre’s Your Flesh Shall Be a Great Poem

Harriet Jung is a New York-based artist with experience in costume design, womenswear design, and illustration. Jung studied visual arts at a young age and attended Orange County School of the Arts in Southern California. She earned a degree in molecular and cell biology from the University of California, Berkeley, before studying fashion design at the Fashion Institute of Technology. Upon graduating, she joined the womenswear design team at Jill Stuart and worked as an associate designer. Jung founded Reid & Harriet Design with Reid Bartelme (above) in 2011. Along with Justin Peck, they are featured in the documentary Ballet 422. Jung and Bartelme have recently started a capsule collection.

Sasha De Sola in Harriet Jung and Reid Bartelme’s costumes for Trey McIntyre's Your Flesh Shall Be a Great Poem // © Erik Tomasson

PATRICK KINMONTH

Scenic and Costume Designer for Cathy Marston’s Snowblind

Patrick Kinmonth is an artistic polymath. He has worked diversely as an opera director, painter, stage and costume designer, and as a film director, writer, architectural designer, editor, and exhibition curator. Kinmonth studied literature at Oxford before becoming art editor of British Vogue. His contact with ballet began In 1993, when his paintings were adapted for David Bintley’s Tombeaux at Covent Garden. He has since designed or directed more than 45 opera and ballet productions all over the world, collaborating extensively with choreographers Fernando Melo, Pontus Lidberg, and Cathy Marston on the form, structure, light, and libretti of the works he designs.

SF Ballet in Patrick Kinmonth’s costumes for Cathy Marston’s Snowblind // © Erik Tomasson

MARCO MORANTE

Costume Designer for Arthur Pita’s Björk Ballet

Marco Morante established his label, Marco Marco, in 2002 and under this moniker has designed and created iconic garments for celebrity artists and performers of all métiers. This is his first project for San Francisco Ballet. He is well known for runway shows that feature his designs shown on an array of contemporary artists as well as society and nightlife personalities. Recent credits include Ringling Bros. and Barnum & Bailey's circus, Britney Spears’ Piece of Me, and Todrick Hall's Forbidden. Morante earned his BFA in costume design from CalArts.

Maria Kochetkova in Marco Morante’s costume for Arthur Pita's Björk Ballet // © Erik Tomasson
JEAN-MARC PUISSANT

Scenic and Costume Designer for Christopher Wheeldon’s Bound To

Jean-Marc Puissant is an award-winning set and costume designer working internationally in theater, musicals, opera, and dance. He completed the Motley Theatre Design Course in London and studied art history at La Sorbonne in Paris. Nominated as Best Scenographer at the 2016 Benois de la Danse, he has designed for several productions that have won Laurence Olivier, South Bank Show, and National Dance Awards. Previously a dancer, Puissant graduated from Paris Opera Ballet School before dancing with Birmingham Royal Ballet and Stuttgart Ballet. Puissant is a 2018 Fellow at New York University’s Center for Ballet and the Arts.

SF Ballet in Jean-Marc Puissant’s costumes for Christopher Wheeldon’s Bound To // Erik Tomasson 

SYLVIE ROOD

Costume Designer for Myles Thatcher’s Otherness

Sylvie Rood is a fashion and costume designer from New York City. Trained as a Balanchine dancer, she was formerly a member of San Francisco Ballet's corps de ballet. She then attended the Fashion Institute of Technology, earning a degree in fashion design with specialties in women’s sportswear, swimwear, and lingerie. She has previously collaborated with Myles Thatcher for the San Francisco Ballet School 2017 Student Showcase, for which she designed and created costumes for Panorama. Sylvie has worked for such fashion companies as Thom Browne, Proenza Schouler, and Pamella Roland.

Sean Orza and Max Cauthorn in Sylvie Rood’s costumes in Myles Thatcher's Otherness // © Erik Tomasson

ROBERT ROSENWASSER

Costume Designer, Alonzo King’s The Collective Agreement

Robert Rosenwasser, a co-founder of Alonzo King LINES Ballet, shapes the aesthetic and artistic direction of each of the company’s projects, including conceptual design and production. Rosenwasser has also designed for Les Ballets de Monte-Carlo, Béjart Ballet, the Royal Swedish Ballet, The Joffrey Ballet, Frankfurt Ballet, and Alvin Ailey American Dance Theater. Rosenwasser was the art director for Kelsey St. Press for more than two decades, where he collaborated with artists and poets. His work is found at the New York Museum of Modern Art in the Department of Books and Illustrated Prints, at the Whitney Museum, and at the Spencer Collection of the New York Public Library.

Solomon Golding in Robert Rosenwasser’s costume for Alonzo King's The Collective Agreement // © Erik Tomasson

YUMIKO TAKESHIMA

Costume Designer for David Dawson’s Anima Animus

Yumiko Takeshima is a costume designer who also started and runs a successful dancewear company. Born in Asahikawa, Japan, she trained at Miharu Ishikawa ballet school and SF Ballet School before dancing with Universal Ballet, Alberta Ballet, Feld Ballet, Dutch National Ballet, and Semperoper Ballett. In early 2002 she launched YUMIKO dancewear. Takeshima has also designed costumes for numerous choreographers, notably David Dawson and William Forsythe. Her dancewear was featured in the 2010 film Black Swan. Takeshima was the 2003 and 2005 recipient of the “Best Female Dancer” award by Dance Europe magazine and won a gold medal at the 1996 Serge Lifar International Ballet Competition in Kiev.

SF Ballet in Yumiko Takeshima’s costumes in David Dawson’s Anima Animus // © Erik Tomasson

MARK ZAPPONE

Costume Designer for Annabelle Lopez Ochoa’s Guernica and Edwaard Liang’s The Infinite Ocean

Mark Zappone has worked with Pacific Northwest Ballet, Ballet du Nord Roubaix, Les Ballets de Monte-Carlo, Le Cabaret de Monte-Carlo, Holiday on Ice Switzerland, Miss USA, Miss Universe, and the Lido and the Moulin Rouge in Paris. Zappone has collaborated with Lucinda Childs, Yuri Possokhov, Twyla Tharp, Molissa Fenley, Christopher Wheeldon, Mark Morris, Martin Pakledinaz, Edwaard Liang, Maurice Sendak, Helgi Tomasson, James Kudelka, Christopher Stowell, and Nicolo Fonte. He has designed for New York City Ballet, Pennsylvania Ballet, The Joffrey Ballet, Pittsburgh Ballet Theatre, The Perm Ballet, Oregon Ballet Theatre, Teatro Zinzanni, and Wear Moi Dancewear of London.

SF Ballet in Marc Zappone’s costumes for Annabelle Lopez Ochoa's Guernica // © Erik Tomasson