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Image by Tim Mossholder

About Us

Chloe Chapin
(C
o-Founder)

Chloe Chapin is a costume designer, maker, and fashion scholar. She holds a PhD in American studies (Harvard University), MAs in history (Harvard) and fashion and textile studies (Fashion Institute of Technology), an MFA in design (Yale School of Drama), and a BFA in performance production (Cornish College of the Arts). As a costume designer, Chloe’s credits include: Broadway (associate/assistant): Equus, HAIR!, American Idiot, Passing Strange; New York: The Civilians, BAM, Clubbed Thumb; Regional: Hartford Stage, Two River, Yale Rep. She has published articles on fashion in Fashion Theory and Dress, held research fellowships at Monticello, Mount Vernon, the Huntington Library, Winterthur Library, American Antiquarian Society, and the Smithsonian American Art Museum, and has taught at FIT, Parsons, Reed College, and Harvard’s Pre-College & Extension School Programs. She is currently working on her first book, about the origins of modern men’s suits, and the way they harnessed white masculinity to democracy and modernity. Chloe coaches artists in academia through thresholdadvising.com, and explores pedagogy through her position as the Assistant Director for Course Development at the Derek Bok Center for Teaching and Learning at Harvard University. Her most recent making practice / obsession is William Morris-print needlepoint cushions. She keeps meaning to set up the loom she bought a year ago and then stuffed in a closet with all of her old quilting fabrics.

Christianne Myers
(Co-Founder)

SMTD_Headshot_ChristianneMyers_1.jpg

Christianne Myers is a costume designer and educator working at the intersection of pedagogy and practice. She holds an MFA in Costume Design from New York University and BFA in Theater Design from Pace University. Her costume design work includes theatre, opera, industrials, and film. New York highlights: Music Theatre Group's Running Man, Dare Clubb's Oedipus, Lincoln Center Institute, and 17 shows at The Juilliard School; as a stitcher and first hand she worked at Donna Langman and Parsons-Meares’ studios. Regional Design: Santa Fe Opera, Detroit Public Theatre, Clarence Brown Theatre, Syracuse Stage, Indiana Rep, Theatreworks/USA, Caldwell Theatre, Irondale, and Opera Memphis. Since joining the University of Michigan in 2002, Christianne has designed over 50 shows for The School of Music Theatre & Dance, served as interim Chair of the Dept. of Theatre & Drama, and is the Claribel Baird Halstead Collegiate Professor of Theatre & Drama. As the Area Head for Design & Production, she is a silo-buster and convener who seeks opportunities to bridge disciplines and color outside the lines. Recent work has included securing internal grants to support ATCA and writing One Approach to Student Engagement in Educational Season Selection for Howlround Theatre Commons. A passion for puppets allows her to keep her hands busy carving, cutting and repurposing the unreasonable amount of cardboard she’s been hoarding. She occasionally blogs on her portfolio website.

Colorful Threads

Workshop Planning

Sydney Maresca

Raven Ong

Anastasia Goodwin

Aly Amedei

Gratitude to: Ashley Bellet, Deepsikah Chatterjee, Jenn Jacobs, Chris Muller, Val Ramshur, Maile Speetjens

Values

The professional goals of the work created by the ATCA community are to reflect the widest possible range of humanity through costume design and production in a way that is respectful to the cultures, characters, and collaborators we create in and with. It is our job to materially manifest a range of human and non-human identities, including zombies, firebirds, puppets, plants, and mascots: all of whom are welcome in our practice.Outside of the performance world we inhabit, the ATCA community welcomes workshop participants across the same spectrum of identities that we recognize and support in our work as costumers: this includes all humans, regardless of age or ability; race, ethnicity, national origin, or regional identification; gender- or sexuality-based orientation, identity or expression; institutional affiliation, teaching rank, or professional identity; economic or educational background; religious, spiritual, or political affiliation; and/or parental or caregiver status. As theatrical canons, industries, and audiences continue to evolve, so must our costume knowledge, practice, and classrooms. Our workshops hold space for thinking collectively about how we can continue to make costume practice better for us, and for everybody.

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