Aida is a spectacular love story with breathtaking music and incredible history.  However, each performance’s own uniqueness truly shines in the costume and set design.  Vivanista talked to Aida‘s multi-talented, creative, and colorful Production Designer Zandra Rhodes to hear her perspective on the differences between designing ready-to-wear clothing versus fantastical opera costumes, her inspiration for Aida‘s design, and the changing face of fashion.

Besides past productions, did you have other inspiration for the costumes for this version of Aida?

I went back to my sketchbooks that I did on a visit to Egypt in 1986 of the wall paintings, especially in the tombs. I then did a dress collection called “Secrets of the Nile SS 1987.” In it was the “Egyptian Leopard Print,” and it is this print that has been used on the priests. It is all of this research I used as the original inspiration. For more research I went to the book of etchings from Napoleon’s original Egyptian campaign.

Do you have a sense of the differences between fundraising for Opera companies in the U.S. versus Britain?

U.S. fundraising seems to be a much more glamorous and well-organized affair, especially as this money has to be part of the income to contribute to the running of the opera in the U.S. It is fabulously organized with society ladies competing to chair.

You have designed costumes for a variety of operas including The Magic Flute and The Pearl Fishers. What differences are there between designing costumes and ready-to-wear?

The opera can be larger than life! Dresses do not always have to be practical as long as they can sing in them! The opera is a vehicle to create a marvelous world where the eyes and one’s other senses (like music and sounds) combine and take the participation to fabulous heights! Ready-to-wear must have a different kind of practicality. They can be eye-catching if the wearer wants them to be, which is not always the case!

How is the face of fashion changing?

The face of fashion always changes. Currently its key moving force is whether or not a garment is seen on film stars and personalities in the public eye. Pictures of pure fashion in magazines do not now have the same influence. It is the red carpet and footballers’ wives who now influence sales.

How do you overcome the creativity drain bringing out a new collection year in and year out?

By being lucky enough to have tremendous variety in my life. By designing for opera so I can go into a totally different fantasy world. Because I started as a textile designer and design all my own fabric prints, this expands the horizon. I can work on print ideas to go on a bed linen line that I do for a company called Ashley Wilde in the UK. Additionally this September a book of my early work from 1961 to 1971 comes out: Zandra Rhodes – Textile Revolution: Medals, Wiggles, and Pop 1961-1971.

Your hair color is one of your signatures. Will you share what your real hair color was growing up?

My hair was dark brown, but now underneath it is grey/white! But I never leave it for long enough! I first dyed it green in 1971 – first streaks, then more and more. In 1980 I dyed it pink and since then have had it in varying shades of pink and red-pinks.

Besides an Opera fundraising event what is the event that you enjoyed most?

I really enjoy doing lectures about my work. I travel all over the world to do these. I also love looking after all details that build up to an event and make the event “happen” in a very special way. For example, when I first came to La Jolla and did a fundraiser for the La Jolla Contemporary Art Museum, all the ladies in the committee met me wearing pink wigs! For that show I also did a magical fabric forest composed of all my fabric hanging all from the catwalk ceiling and showed a fantasy of all my incredible evening dresses and ball gowns.

Who is your role model?

I suppose my ultimate role model is my mother. She was very exotic and taught dressmaking at the art college I went to. Before her marriage she was a fitter in Paris at the House of Worth. She taught me my work ethic.

Do you attend charitable fundraising events?

I attend many, especially with my partner Salah Hassanein. “Water for Africa” and heart operations for children in third world countries are his main focus. In San Diego where we live, we go to fundraising events for San Diego Opera and the Old Globe Theatre. I have also worked for 13 years on behalf of the UCSD Cardiovascular Center for which I do all the artwork. The center will be opened this year.

What has been the most interesting party, besides the San Francisco Opera Gala, that you’ve been associated with?

There was a fabulous gala for the Globe and Dr. Seuss in La Jolla where everyone received a hat made from brown paper bags to wear, but so wonderfully done. I still have mine! Another was the opening of The Magic Flute for San Diego Opera opening night when the whole of the ladies in the audience wore pink feather boas!

What tip are you willing to share as to how to best express your own style?

Always be willing to experiment, even if in hindsight some of the looks are a mistake! I think of my face and hair as a wonderful palette that I can try things out on.

 

For more information on the San Francisco Opera production of Aida, click here.

For more information on the Opera Ball, click here.

Previous segments in the Behind The Scenes series include: