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Kelsey Vidic

Kelsey Vidic is a costume designer and installation artist. She strongly believes that we are all a collection of experiences and we learn through the acceptance and listening of others.

Kelsey is the costume designer, technician and manager for all of the dance shows in the Dance Department at CSULB. Please find more information on her website: kelseyvidic.com

Costume Shop Policies

COSTUME EXPECTATIONS

What to expect from the Costume Shop, and what we expect from you.

The Dance Costume Shop at CSULB is committed to creating a space that is inclusive to all students, including BIPOC, LGBTIAQ+ and students with a disability.

COSTUME PROCESS:

You will be provided at least one costume for the concert. The shop manager will reach out, via your CSULB student email, for a time slot to take your measurements. This will take no more than 15 minutes. Following the measurements, the shop manager will reach out again for one or two costume fittings. Fittings typically last between 20-30 minutes. The performer is responsible for the costume and treating it with respect throughout dress rehearsals and run of the show.

EXPECTATIONS IN A FITTING:

  1. Respond to your CSULB student email in a timely manner (within 48 hours of receiving the email). The shop manager will reach out at least 24 hours in advance of the requested fitting (unless in a special situation).
  2. Be on time to your costume fitting and measurements. The costume shop works on a tight schedule, often scheduling back-to-back appointments. Showing up 15 minutes late can mean you are arriving when the next fitting is scheduled, and the shop won’t be able to accommodate you. If you are going to be late or need to reschedule, it is very important to contact the shop manager. We can work with you if something unexpected comes up or you are dealing with a difficult situation, but communication is absolutely needed in a timely manner.
  3. Let us know if a costume is uncomfortable or isn’t working for your movement. Make sure to try your most extreme movements from the choreography in the costume fitting.

DRESS REHEARSAL AND SHOW:

  1. Each performer is responsible for his/her own make-up, makeup removers and hair supplies/products for the run of the production. The costume shop has limited products on stock for emergency situations.
  2. Wear deodorant and appropriate underwear/undergarments as discussed in the fittings.
    1. If you don’t have the proper undergarments or have any questions on this, please talk to the Costume Designer or Shop Manager and we can assist you.
  3. ABSOLUTLY NO EATING, DRINKING, OR SMOKING IN COSTUME. Water is always ok.
  4. Under no circumstance can you greet your family and friends in your costume after a show.
  5. When and if your costume malfunctions, you are responsible to write down what happened. Repair notes need to be written on the Costume Notes paper posted on the back of the dressing room door.
  6. Laundry should be placed in the laundry baskets in the dressing rooms. We will only wash the items you place in the basket. In special cases, some costume items cannot be laundered, but we will notify you in the fittings if your costume falls in this category.
  7. Hang your costumes neatly on the rack at the end of the evening just as you found it, ONE piece per hanger, please! Please clean up your dressing room space after each dress rehearsal and performance.
The Costume Shop is here to serve the stories and ideas being presented on stage. We care deeply about how you feel and what you need in a specific costume, so do not hesitate to ask. We are here to support you.

COSTUME SHOP COMMITMENT

Actions we are committed to taking as a Costume Shop.

ACTIONS:

*if any of these actions are not met, or you notice we have missed something to accommodate you, please contact the Costume Shop Manager (kelsey.vidic@csulb.edu)

  • We believe that all bodies of every variety are beautiful. We take time and care to design and make or alter costumes that fit your individual body type.
  • We recognize that skin tones are many different shades and choose to use the word skin tone in lieu of nude.
    • We are committed to finding the best skin tone shade, with the performer's approval, for any costume that is attempting to be the color of your skin tone.
  • We are committed to labeling and categorizing the costume stock and materials in a way that is inclusive and denies stereotypes, racism, gender assumption, or culturally inappropriate terms.
  • We acknowledge that every person with a disability requires different accommodations. We are committed to adapting our costume shop to any student that would like to work in the shop or is using the space for fittings or classes.
  • With every new dancer that is being fitted in the shop, we ask you fill out a “Memo of Understanding” to familiarize us with your preferred name, pronouns and body comfortability.
  • We acknowledge that there are different products and increased time and costs needed to achieve hairstyles for BlPOC dancers (acknowledging specifically Black dancers). The Shop Manager and Designer stands with these dancers and will assist in finding a style that work best with that specific dancer (time and money in consideration) to achieve the aesthetic of the dance piece.
  • The Shop Manager will be attentive during fittings and dress rehearsals to recognize and point out to the Designer (Lighting or Costume) if a certain color choice is working against or not in favor with the color of the dancer’s skin.

*If you do not feel comfortable talking to the Costume Shop Manager about your needs or how the Costume Shop has not met them, here are alternative resources to contact:

-Affinity A.I.D.E Student Group, csulbdanceaffinity@gmail.com

-Betsy Cooper, Chair of the Dance Department, betsy.cooper@csulb.edu

-File a Complaint with Equity and Diversity, CSULB, www.csulb.edu/equity-diversity

Education

  • MFA in Costume Design from the University of Texas
  • BA in Theatre from Florida State University

Other Training

  • The Creative Gesture, Designing for Dance
    • Costume Design Dance Intensive
    • Led by: Stine Sjögren and Liz Vandal
    • Banff Centre for Arts and Creativity, Banff, Canada
  • Gomez-Gracia, London
    • Fashion Intern under the direction of Patricia Gomez-Gracia
    • London, UK
  • Stitching/Wardrobe Apprentice, Santa Fe Opera
    • Apprentice for two summer sessions in the Costume Shop
    • Santa Fe Opera, Santa Fe, NM

Selected Creative Work & Training

  • Adrift, an installation
    • MFA Thesis by Kelsey Vidic
    • Museum of Human Achievement, Austin, TX
  • Be Real
    • Conceived and Directed by: Yago de Quay
    • Costume Design: Kelsey Vidic
    • Produced by Intel Corporation
    • Consumer Electronics Showcase, Las Vegas, NV
  • Soft Matter
    • Independent Feature Film
    • Directed by: Jim Hickcox
    • Costume Design: Kelsey Vidic
    • Austin, TX
  • Not Every Mountain
    • Directed by: Thomas Graves
    • Rude Mechanicals
    • Set Design: Thomas Graves, Kelsey Vidic
    • Guthrie Theater, Minneapolis, MN
  • Madama Butterfly
    • Costume Design: Susan Mickey
    • Associate Costume Designer: Kelsey Vidic
    • Opera på Skäret, Kopparberg, Sweden

What is a Costume Designer?

A Costume Designer is the collaborator that visually communicates a story, feeling or idea through the use of textile, shape, color, line, texture and movement. 

What does the Costume Designer Do?

The designer begins by meetings with the choreographer and other collaborators (lighting designer, scenic designer, technical director, etc.) After the first meeting, the Costume Designer will do research (visual and/or textual), go to fabric stores for swatches (small pieces of fabric), do sketches of the dancers in costume and finally generate a costume rendering (sketched and colored drawing of the dancer with costume) for approval.
The Costume Shop takes this drawn rendering and brings it into real life! Costumes can either be built, pulled or bought. No matter where they come from, they all go through a process of fittings to the dancer and alterations to change the costume to be as close to the rendering as possible.
Throughout this production process, the designer communicates with the costume shop, choreographer, dancers and fellow collaborators to stay up to date with any changes to choreography or other surprises that can happen along the way. This process is a balance of structure and fluidity in order to produce the best costume for the final performance.

What is special about having a Costume Shop in the Dance Department?

It is very special to have a Costume Shop specifically for the dance program as most Universities have to share their shop with other departments on the campus. We do not support any other productions beyond the five dance concerts (no theatre, opera, etc.). Always feel free to come visit the shop for any questions or ideas, we are here to serve you!

What resources should I take advantage of while getting my dance degree?

COSTUME STOCK

There is an expansive costume stock with over 20 years of beautifully made costumes in existence at CSULB. This stock is available to rent from (*restrictions apply). As a student enrolled the university you can rent an item for free plus the cost for cleaning the costumes, either by washing machine or dry cleaning.

COSTUME CLASSES/EDUCATION

There are two classes you can take:

  1. Introduction to Dance Production: students will learn the backstage jobs that bring a production together including stage crew, lighting, sound and wardrobe.
  2. Costume Design for Dancers: students learn the process or a costume designer and basic sewing skills.

Opportunities to work in the Costume Shop:

  1. Costume Construction Crew: students will work in the costume shop, sewing garments that will go into dance performances.
  2. Costume Archive Crew: students will learn how to digitally archive costumes and repair the costumes stored in our stock. This is great if you have never sewn before but are very interested in learning and advancing into the Construction Crew.