Trelise Cooper: Setting a scene

Character unfolds in costume as working drawings are fitted by Trelise Cooper. Photo / Supplied

Trelise Cooper is a fashion designer known for a theatrical take on clothes and an operatic flourish to her shows, so her latest venture should come as no surprise.

Opera is the new stage on which her foray into costume design will be played out. The curtain goes up in Melbourne this week on Cooper's designs for a co-production of Xerxes by Victorian Opera and the New Zealand national company.

The season at the Melbourne Recital Centre runs until August 20, but unless you're heading over the Ditch, you'll have to wait a while to see Handel's rom-com opera here. It has been scheduled for 2011 by the NBR New Zealand Opera.

Here at Viva, we like to be in first, so with a cover story about fashion illustration, it seemed a good chance to run some more gorgeous drawings and catch up via email with Cooper, who is overseas. She told us she was absolutely an opera fan and had been introduced to singing by her parents.

"I have sung since I was 10 and belonged to Auckland Children's Light Opera Society. I don't sing anymore, regretfully, as time does not allow."

Time will also dictate whether Cooper does more costume design, but she has won a big fan in Xerxes' respected director, Roger Hodgman, who told Viva it had been an exciting collaboration, involving three fittings, during which the designer's flair, pragmatism and charm had won them over.

"She has come up trumps with costumes that are bold and playful. The cast love them and finds them very helpful in defining and extending their characters."

Cooper says the process began when she was approached by NZ Opera.
Tell us a little about the process of costume design and how it differs from fashion design? Costume design is much more like haute couture. Each piece is made to measure with 2-3 prototypes per garment, before the final costume is completed. Embroideries are made for individual garments to the exact size. Consideration is given to the character and the role they play including enough room at neck and chest for singing.

Do you see your fashion designs as theatrical? The theatre of fashion and the magic that it brings are maxims I strive for.

What appealed about working on Xerxes?
To be able to create with no boundaries. The brief gave unlimited design freedom and the opportunity to go modern or period.

Do you think historical operas can work in contemporary costume? I have always enjoyed operas that bring a new perspective to the known.

Did you have an era in mind? The opera is set in Persia in 480BC. Handel wrote it in the 18th century and it has been performed previously in this era. We wanted a combination of Persia and 18th century, all with a modern reference, cut and silhouette.

How did you translate character into costume? Roger Hodgman gave great characterisations and it allowed my team and I to brainstorm and research different periods and costume i.e. historical military uniforms. New Zealander John Verryt, the set designer, purposely kept the stage design simple to allow our garments to "pop". Early on we were shown concept boards of colours and staging and then the scale model. This inspired Romilda's silk coat which I felt needed to "rustle" through the cloister-like Persian archways.
How long did the process of the opera design to making take? It happened over a few months, not continuously, but between designing collections, range launches, parades, travel and all the usual business.
Will you be at opening night in Melbourne? Yes - I can't wait to see our creations on the stage.

•For details see www.victorianopera.com