In Pursuit of Costume Design with Bridget Mitchell

Bridget Mitchell is a Montecito native living in Los Angeles pursuing a creative career in costume design. From backstage show repairs for recognizable characters to behind-the-scenes Hulu sets to cruise ship performances at sea, there have been diverse adventures in her craft. Mitchell’s achievements speak for themselves in her over decade-long pursuit towards her craft. I asked Mitchell what steps it took to get to her here and what the future holds. 

Q. What were the signs in your childhood that you might become a costume designer? Who were the first artists that inspired you?

A. Ever since I was a child, I’ve had a passion for dressing up and using fashion as a form of self-expression. As a shy person, it allowed me to communicate who I was inside. I have always been curious about the world around me, and that curiosity influences my designs. My own “Bridgety” style mixes nature, art, music, and history. Growing up, I expressed myself on harp through compositions and listened to a variety of music genres. When I listen to music while making something, it tends to enhance my focus and put feeling into the work.

Though I was young, in middle school Jodi de Marcos (founder of the eponymous fashion academy) became my mentor and taught me design, sewing and fabrication. By 2013, I was creating whimsical collections for the annual de Marcos Academy fashion show. One design was a gingham set with a skirt that stood upwards by itself. In high school, I worked as costume assistant for the SBHS theatre and sourced, fitted, styled, and designed costumes for student-run productions, further developing my craft. Some of the finest art instructors I had were Ms. Atwill at Montecito Union, Ms. Pincus at Crane, and Mr. Barnett from VADA at Santa Barbara High School.

My designs are inspired by nature, especially plant and animal species, as well as by ecosystems like coral reefs. For instance, after a Ganna Walska Lotusland visit I designed a water lily dress. I admire the work of designers like Hussein Chalayan, who incorporates technology into fashion. I draw inspiration from art history—surrealism and other 20th-century movements – vintage fashion eras, and films with stunning visuals like Eiko Ishioka’s costumes in The Fall.

What were some valuable lessons art school taught you?

In 2016 I attended OTIS College of Art and Design in Los Angeles. While I gained strong drawing skills, I found their focus on perfection and garment manufacturing limiting. I transferred to Savannah College of Art and Design (SCAD), a better fit for me. SCAD was a place where creativity and individuality were nurtured, and I switched my major to Production Design for Costumes while minoring in Fashion Design. The flexibility and collaboration I experienced there, especially during the pandemic, helped my confidence and abilities grow. I even collaborated with students from different majors on several short films. 

For my senior costume design project in my last year at SCAD, I chose to design and create a costume from the opera, Turandot by Giacomo Puccini. With thorough research, it is a historically respectful interpretation, tying in its Sasanian origins in Nizami’s Haft Paykar to eliminate racial stereotypes. The story is about a powerful princess who executes suitors to seek revenge for her ancestor’s suffering. In the end, she falls for one man who is able to solve her challenging riddles. It takes place in Ctesiphon, Persia, between 224- 651 CE.

What’s been the most interesting job you’ve worked thus far, any fun stories you’d like to share?

I’ve worked as a Costume Technician on Royal Caribbean’s Wonder of the Seas, the world’s largest cruise ship at the time. The ship was so big it felt like you were on land – there were 19 decks, a park, a theater, golf course, and even real trees! I was a Costume Technician for three months handling performers’ costume fittings in ice-skating, aqua, and live theatre shows. My favorite aspect was working on the hats, including a Marie Antoinette-inspired wig with a ship on top. I also loved being part of the adrenaline-packed aqua show, where aerialists, acrobats, and high-divers performed. Although exciting, I realized that living on a cruise ship didn’t offer the sense of home and personal connection I value.

What is something unexpected you’ve encountered as a costume designer? 

Working in film and TV taught me a lot about the demanding nature of the industry. Extraordinarily long hours and the lack of work-life balance or steady work made me realize that the film world isn’t the right fit for me long-term. While I’m open to working on smaller projects, I prefer the stability of other costume-related fields, such as costume houses, which supply and store costumes for productions.

Tell us about your current job at Universal Studios, could you give us a glimpse behind the curtain?

Currently, I work at Universal Studios Hollywood as a costume dresser for the theme park’s performing characters. I help with costume repairs, dressing performers, and maintaining costumes, especially in high-traffic venues like Super Nintendo World, Minions, and Transformers. The Nintendo characters can talk, blink and interact with park guests. I’ve also worked as a skilled craft stitcher and distresser for Halloween Horror Nights and Grinchmas, aging clothes and adding weathering effects. 

What is a future dream project for you?

Looking ahead, I dream of working on projects with more creative freedom, perhaps with smaller companies where I can fully utilize my diverse skill set. I recently worked with Michael Curry Design in Oregon, where I contributed to fabric work for Disney, Cirque du Soleil, and other clients. I love problem-solving in imaginative ways, and I hope to continue growing in this field, whether through future opportunities in theaters, with designers, special effects, music videos, costume houses, or other creative ventures.  

See more of Bridget Mitchell’s creations at her website https://bmitch26.wixsite.com/website