Designer Taylor Mills’ first foray into costume design for opera began with Manhattan-based company New York Opera Exchange. Mills’ work with singers in NYOE productions of La traviata, Lucia di Lammermoor, Die Fledermaus, and Carmen incited her to explore the vision for her latest project: Taylor Catarina NY, an adaptable formal wear line geared toward the singer. The blossoming collection with its forthcoming launch showcases Mills’ love and skill for creating elegant accents and practical details. With a cognizance for the singer’s instrument and appreciation for the unique demands of the field, Mills aims to address the needs of the modern-day auditioning and performing artist.
When did the idea arise to incorporate details in design for the physical comfort of the singer?
That came up as I was working for New York Opera Exchange, working with the performers every dress rehearsal and performance, seeing what they needed. It was eye opening as a designer to work with who I wanted to become my customers later on. These singers are under the spotlight, incredibly physical. The physical fitness they need in order to sing, perform, and act . . . I applaud them because it’s absolutely amazing. I really wanted to support them in ways that most designers I feel aren’t.
Can you share a bit about your background in the field?
I’ve always been interested in design, sketching since I was six or seven. In terms of how I got involved in opera, it was a chance encounter with [Artistic Director] Justin Werner from New York Opera Exchange. He asked if I had ever thought about doing costume design. I [thought], “Let’s give this a try!” It ended up being one of the most rewarding experiences I have ever had and led me to this path.
What was that first production?
La traviata. I remember the orchestra practicing for the first time and realizing I knew almost every [number]. I had always loved classical music. The thing about opera is the music is in the collective conscious. It’s almost inescapable if you appreciate it, to see where it comes into play across all levels of culture.
It ended up being two casts of maybe 40 singers: a giant production. Justin was helping me source the soldiers’ costumes. We had two casts; we had alterations to make and a budget to maybe outfit four of them fully. It was set in 1940s Italy during World War II.
Does your approach change when working on a production versus other projects?
A hundred percent. In terms of working in an opera—on any production—it’s a collaboration. I think that collaboration is beautiful. Sometimes when you set the most limits, you can really make something great within a certain set of parameters.
When you’re trying to design for mass market, it’s “What’s going to sell?” which is different than “I need to make a piece to describe who my Violetta or who my Carmen is.” When I design my line, it’s “Can I design something to fit what so many different girls want to be?” These women have incredible vocal talent. How can I help without taking away from their presence, but adding to it?
What inspires your approach to the line versus design for a specific character?
They’re very similar in terms of how you start out: you have an idea that takes you through the collection. There’s always a unifying factor. At least you try to work toward one. Right now I’m designing classic pieces to establish a baseline of the work that can be done.
From where do you derive your inspiration for the line’s aesthetic elements?
It’s a lot of what I see on Pinterest, Instagram—two visual platforms that I feel most designers access. Then it comes down to historical photos, of Christian Dior and the current collections of Marchesa. It can be architectural. It can be anything—a flower outside—that inspires. It’s consuming and being aware of the world at large.
Are there designers who inspire you, whose work you really love?
Absolutely. It’s hard to pick just one. My longtime favorite has been Vera Wang. Oscar de la Renta does beautiful work. Zac Posen, Zuhair Murad. There are so many.
Do you have any favorite operas?
I have to say working on Carmen was one of the coolest things I’ve done. It was the first opera I had learned about when I was 14 or 15. It’s a serious and sexy, powerful, and tragic piece. It was one of the happiest moments of my life participating on that show.
I did a yellow wrap skirt with black lace. It was cool because apparently one of the productions put on 120 or 140 years ago actually used a yellow and black skirt very reminiscent, and I hadn’t seen that before. I felt so vindicated because in so many people’s minds Carmen is red. I didn’t want her to be a “Stop, don’t go here.” It was more of a warning sign: she was going to be who she was. I loved that about her. It was: “This is who I am. I accept who I am. Can you accept who I am?” That was really fun. A visual play of colors and imagery can get the audience excited.
It’s interesting to hear about opera from that vantage point: it’s visual as it is aural.
I like that we all get to work together to make that happen. We all have our part to play, even if we’re behind the scenes. I was really excited to be introduced to this beautiful art form. I would love to participate in it again. I’m still so lucky to be surrounded by so many different talented artists. I hope that opera stays around for a very long time. I hope that newer generations finally wake up to how beautiful the art form is.
Do you see anything in opera today that you feel can affect how it is perceived?
There are a lot of young companies I have a lot of respect [for] because they are still showing it to audiences even though people have been saying for years that opera is dying. You look around and there’s still community. There are still people who want to learn. I would love to see outreach in the city for middle schoolers and elementary-aged students to be able to see an opera, making it approachable in that you can go enjoy this music and the spectacle of it. I do think that part of the magic of opera is the spectacle of the glitz and the glamour, and these very elegant people who are up there and singing with so much soul.
What potential do you see in formal wear design to bring out different qualities in a performance? How can wardrobe change the performer’s experience?
I really believe that the outfit can give you confidence onstage. I think that’s everything when you are presenting yourself, as a singer does, to hundreds if not hundreds of thousands of people. Also, clothes communicate your brand. In a day of social media when you are showcasing who you are on a mobile and accessible platform, what you wear communicates who you are.
Are you drawn to one style, specifically, when you imagine design for the classical singer?
Classic elegance is what I would call what I design. I enjoy a little bit of showmanship, but nothing too over the top. If I’m going to have an over-the-top detail, it’s going to be calmed down with a neutral color, for example. I like something with cleaner lines, but still with an Old World elegance.
What was the inspiration for the Prima Dress?
I wanted something classic: a take on the LBD [Little Black Dress] essentially. The collection will present the first dress in black and a few secondary colors. I wanted it to have that bombshell feel, still taking into consideration the body of the performers, giving them the technical pieces they need, such as pockets.
I am going to be doing a Prima Tuxedo Pant, as well as a simple blouse that can be worn under any of the pieces I create. To me those are core pieces: the Prima Dress and Prima Tuxedo Pant. You have such a dynamic art form in opera where you have pants roles; I want to be able to support women who feel more comfortable in slacks.
How was the blue tulle piece inspired?
I wanted to play with a bit of “Sixties Mod.” That’s where the graphic white lines come in, with this ethereal silhouette at the bottom. It’s a juxtaposition of the tulle’s softness on the skirt to the upper, more structured portion. I really enjoyed that because I feel like classic opera [style], like that of Maria Callas, was so celebrated back in the 60s. I wanted to cheekily bring that in.
What’s your favorite feature in the collection so far?
I love the idea of mixing and matching pieces. I’m excited to explore the functionality of that: the base dress with the top dress that you can switch out.
There are pieces that will be more tailored to the every day: transitional, but something you can wear to an audition that isn’t quite a ball gown. The audition line is to be worn between your side job and auditions. It’s not a day-to-night but it is a day-to-audition.
As the line takes shape, is it evolving as you anticipated? What do you foresee for its future?
It is not progressing as I anticipated, which is an interesting and wonderful thing! I thought that I would design around an idea—usually I design around a theme and sketch into that—but recently it’s shapes that are really calling to me. What’s been interesting is to explore shapes versus an overall idea and figure out the theme that unifies them.
I’m inspired by the opera community every single day. One of the key tenants of building Taylor Catarina NY is “Support the artist:” highlight the artists behind the ideas I create consistently and authentically, making sure I celebrate those who I’m creating this for, giving them a platform to tell what inspires them in a nontraditional vein. These can be women I’ve worked with and hoped to work with: what they’re going through, what inspires them. “Living your moment” in the spotlight that you have dreamed about. I want to be a part of that.
I’m looking forward to seeing what the future’s going to hold. I can’t wait. I think the line’s going to reflect something that’s really special for performers and it’s going to be a great way for this beautiful art to get created—supporting each other through another venue. Through clothes.
