I was always very set on having some coustumes to remember. This performance should be pure rather than poor, Juliet herself is a very wealthly young girl. What she was to wear was a central from the start, but the ideas were somewhat eclectic.

Julia today might be wearing Roberto Cavalli from top to toe, floral, feminim colourfull, the envy of Verona.

She might be an emo - she talks about death and suicide often enough, so what would stop her dressing in black and having her hair done at Tony and Guy?

We knew that we didnt want neither the virgin-white, nor the pseudo-renassaince costume, so we said timeless at the end and asked Zsuzsi to join the team.

I heard about her when she won the design price for faboulous multifunctional pieces of clothing that transform into bags for the urban nomads on the go.

Her minimalist style would be able to follow and gently counter-ballance my  ecclectic and mixed style on stage. We also needed dresses that take her though childhood, bedrooms, wedding chappels and the great beyond.

The costumes have to change, but they wont have anywhere to put them, or there wont be a moment where they could put on more pieces of clothing and getting changed was out of the question from the start.

She approached the project with outstanding proffesionalism despite the very low budget. As a designer she was much more interested in working the costumes from a functional perspective and that was just what we needed. The costumes had to look expensive, theatrical, they needed to allow free movement on stage and had to transform in order to emphasise moments of transformation for the character. I would love to put some pictures up, but I must not reveal them.

For now you just have to do with these cosy pics taken at the fitting by Juli.