Deerfield’s plays and dance performances are some of the most attended events on campus, yet very few see what goes on behind the scenes. In theater, it takes an extreme amount of effort to convince the audience that the play is set in a different time and place. In dance, it’s very difficult to portray the characteristics and theme of a song. From the dance production Paquita in the Spring of 2018 to the upcoming Fools production, Costume Designer Karen St. Pierre is the mastermind behind all the amazing outfits students wear on stage.
Ms. St. Pierre’s career started when she received her honors undergraduate degree in Fiber Arts from Massachusetts College of Art and Design. Afterwards, she worked on large productions for Hollywood Studios and Sony Pictures as an on-set costume designer. Hired 7 years ago by Director of Theater Catriona Hynds and Director of Dance Jennifer Whitcomb, Ms. Hynds said Ms. St. Pierre was chosen “because of her professionalism and willingness to go the extra mile.” She brought to Deerfield her numerous years of experience in the theater, film, and costuming industries.
She is not only known for her breathtaking designs, but also for her cheerful demeanor and welcoming support. Gracie Spencer ’25 said, “She genuinely cares about her students and it comes off very strongly.”
To Ms. St. Pierre, costume design is both a vital art form and a means of communication. For the theater department, her process begins with receiving the script after the production is chosen. She then sits down in her studio and reads through as an audience member to get a taste of what the play is like. Next, she dives into the background research of the where, when, and what the characters are like. Ms. St. Pierre said, “Being a good costume designer means you have to love historical cultural studies.” During her process, she highlights key facts and preferences of each character in the script to understand their background. She also studies what comes from the storyline to influence how the character acts, thereafter impacting a change in the way they dress. When trying to costume a character, Ms. St Pierre said she asks, “Are they influential, struggling, and what is their story arc?” She then notes down ideas of what the costume itself could look like.
In Fools, Ms. St. Pierre tried to create a “late 1700-1800s fairy tale book look” taking place in a nondescript village, where the costumes contain large amounts of texture with an earth-tone muted palette. Ms. St. Pierre found that, during that time, young girls were usually in a dress or skirt. To show that Sophia, the female lead, is a youthful character, she decided to costume her with dresses. Her costume starts with a jumper with a nightgown underneath, then a nightgown, and a wedding dress and a motherly gown for the end. As Sophia slowly realizes she falls in love, her costume reflects that with touches of sweetness and simplicity.
Sophia’s costumes are all easy quick changes, which goes for most other characters in the play. Not only does Ms. St. Pierre have to think about the design of the costume, but she also needs to keep in mind the switch from scene to scene with a costume change. Ms. St. Pierre especially designs it so students can change from each costume quickly without trouble.
For dance showcases, costumes are more finely tuned to the dancers’ preferences and chosen songs. At the start, she meets individually with each choreographer and hears their vision, listens to their music, watches their rehearsal video if they have recorded one, and starts brainstorming her ideas downstairs in the costume studio. Along the way, she collaborates with the performers to make sure the costume is to their liking.
Later on, closer to the show or performance, Ms. St. Pierre then takes these costumes and holds a costume fitting. She brings on a rack of costumes labeled individually with the student’s name, allows them to try them on, then the dancer practices in their clothes to guarantee the costume will work with the choreography. During this step, Gavin Mariani ’23 notes that “Karen makes you feel very comfortable and makes sure you have the right look.” If there are any difficulties or adjustments needed with the costume, Alice Ai ’24 said “Karen would help you pin it up and help sew it.” She pays detailed attention to needed additions and comfort levels of the costumes, especially mending to how the actor feels.
Her hard work continues throughout the dance showcases or theater productions. Behind the stage, Ms. Hynds said, “She is always there to aid with quick changes so actors aren’t left alone.” She also does the crew laundry every night, making sure everyone has a clean costume for every performance. To many students, her insistence on them having fresh clothes makes an impactful difference.
Ms. Whitcomb said, “Students often forget about the brilliance of her work because the costumes behave themselves… therefore that makes her presence invisible.”
Koko Akpan ’23 said, “Karen works behind the scenes, but she is one of the only reasons why the dance and theater program is the way it is. could not function without her.”