Meet Yu Zhang | Zhang Yu | Costume Designer

We had the good fortune of connecting with Zhang Yu and we’ve shared our conversation below.

Hi Zhang Yu, we’d love for you to start things off by telling us something about your industry that we and others not in the industry might be unaware of?
When people discuss theatrical costume design, those who are unfamiliar with the field often simplistically judge the success of a design based on its perceived beauty or lack thereof. However, for me, the heart of costume design lies not in creating merely “beautiful” characters, but in crafting characters that are “authentic”.

In the realm of social life, clothing serves as a defining element of one’s identity. Whether meticulously dressed or casually adorned, it serves as a proactive means for individuals to express themselves to the world. Clothing bestows upon the natural body a multitude of meanings, conveying the individual’s personality and identity, highlighting their cultural and social background, and reflecting their values and interpretation of “beauty.”

As a costume designer, I consistently imbue this philosophy into my work and weave stories into my designs. My main objective is to help actors establish and fully embody their characters. Understanding the characters’ inner emotions is of utmost importance to me, and I employ costume design as an artistic tool to effectively convey these messages to the audience. Furthermore, I strive to portray the characters’ circumstances, relationships, and dramatic dynamics with other characters.

Recently, I had the privilege of being part of the winning team for received the OPERA America 2022 Robert L.B. Tobin Director-Designer Prize.  This recognition afforded me the opportunity to showcase my costume designs for the opera “Salome” at the national Opera Conference. One recurring element throughout this design was the prominent use of golden ropes, which was a metaphor of the characters’ conflicting situations and complex existence within the story. These shimmering ropes, entwined around the actors, not only indicated their opulent and extravagant lifestyles but also hinted at the burdens they carried under the control and oppression of various powers and authorities. This design reflects the dual nature of the characters’ circumstances within the story.

Can you open up a bit about your work and career? We’re big fans and we’d love for our community to learn more about your work.

As both a designer and an artist, I constantly seek to infuse my designs with a diverse mix of cross-cultural elements and interdisciplinary techniques. My aim is to craft creations that radiate beauty and value, resonating with people from all of humanity.

The musical “Natasha, Pierre & The Great Comet of 1812” I designed is rooted in the grand historical backdrop of the Russian novel “War and Peace,” portraying the fading aristocratic era of 19th-century Russia and the intertwining of personal destinies with historical events. My costume design combines historical styles, contemporary street styles, and rock elements, seeking to blend this classic story with contemporary significance. Through such designs, I hope to present the presence and influence of each individual amidst the ongoing transformations of the modern world. I had the esteemed privilege of being awarded the Zelma H. Weisfeld Costume Design & Technology Award by the United States Institute for Theatre Technology last year. It was such a pleasure to see this project showcased on their official media platforms.

In the costume design for “The Tempest,” I created two contrasting styles for the characters, aiming to visually separate them, accentuate their conflicts and contradictions, and emphasize their significant cultural and lifestyle differences. This exploration delves into the enduring theme of conflicts and dialogues between different civilizations in human society.

To meet the diverse design requirements, I often adapt my painting style and approach. The costume design for “The Tempest” combines the use of laser cutting techniques with watercolor painting. This fusion results in garments that embody a geometrically industrial style for the Italian court characters, in contrast to the natural and magical costumes worn by other characters like Prospero and Miranda. It held significant meaning for me that this design received the Kennedy Center American College Theatre Festival Region Two Theatrical Design Excellence for Costumes in 2021, as it marked a pivotal juncture in my artistic journey where I delved into the depths of costume design, infusing it with profound artistic ideas and conceptualization.

If you had a friend visiting you, what are some of the local spots you’d want to take them around to?
Los Angeles boasts stunning and majestic coastal scenery, and it was at Santa Monica Beach where I witnessed the most exquisite sunset. The gentle lapping of the waves against the sand sets a soothing rhythm that effortlessly induces relaxation and tranquility. As you gaze upon the sun’s gradual descent into the ocean, you can’t help but believe that time, if only for a moment, pauses during each splendid dusk.

The Shoutout series is all about recognizing that our success and where we are in life is at least somewhat thanks to the efforts, support, mentorship, love and encouragement of others. So is there someone that you want to dedicate your shoutout to?

Throughout my upbringing, numerous individuals have had a profound and invaluable impact on me. Among them, my first introduction to the world of theater came through Professor Pan Jianhua, my mentor during my time at the Shanghai Theatre Academy. He guided me in delving deep into characters, unraveling their inner worlds, and using costume design as a means to convey their emotions and the essence of their stories. As a costume designer, I need to breathe with the characters on stage so as to enable the creation of unique and emotionally resonant works.

Professor Susan Tsu from Carnegie Mellon University has also played a pivotal role in my journey. Her noble personality, coupled with her free-spirited and keen artistic vision, have deeply influenced me. Additionally, I have had the privilege of learning from exceptional designers such as Mindy Eshelman, Anne Mundell, Hugh Hanson, Terry Gordon, Robert Perdziola, Clint Ramos, and David Zinn, all of whom have generously imparted their experiences and provided me with valuable guidance.

I have a great admiration for many artists, including Pablo Picasso, Henri Matisse, and Joan Miró, all of whom have influenced me greatly. I also hold a special appreciation for the paintings of Séraphine Louis, a remarkable French artist whose works never fail to astonish me with their captivating uniqueness.

The most recent instance where a painting deeply touched me was Alex Katz’s masterpiece, “Blue Night.” This artwork exudes an unparalleled sense of authenticity, a quality I believe to be paramount in the realm of art.

Website: https://zhangyudesigns.com

Instagram: @zhangyudesigns

Other: OPERA America 2022 Robert L.B. Tobin Director-Designer Prize Winning Project Salome: https://salomeconcept.myportfolio.com/work

Image Credits
Zhang Yu_photo by Louis Stein Salome Costume Design-1 Salome Costume Design-2 Natasha, Pierre & The Great Comet of 1812-1 Natasha, Pierre & The Great Comet of 1812-2 Natasha, Pierre & The Great Comet of 1812-3 The Tempest Costume Design 1 The Tempest Costume Design 2