New York Art Life Magazine publishes interview with costume maker Katherine Chung

By AI, Created 12:43 PM UTC, May 18, 2026, /AGP/ – New York Art Life Magazine has published an exclusive interview with costume maker and draper Katherine Chung, spotlighting her training, Broadway-adjacent work and technical process. The feature also traces her career path from Taipei to New York and her goals to move into lead draping and teaching.

Why it matters: - The interview spotlights the skilled backstage work that turns stage concepts into finished costumes. - Katherine Chung’s path shows how advanced training, historical research and hands-on construction shape careers in theater costume production. - The feature also underscores the demand for artisans who can combine speed, durability and precision in live performance settings.

What happened: - New York Art Life Magazine published an exclusive interview with costume maker and draper Katherine Chung in its online edition this week. - Chung is a New York-based artisan originally from Taipei, Taiwan. - Chung currently works full time at Parsons-Meares as a First Hand. - The magazine framed the interview as a close look at theatrical costume production and Chung’s professional journey.

The details: - Chung earned a Bachelor of Fine Arts in Costume Design from Taipei National University of the Arts. - She later moved to the United States for a Master of Fine Arts in Costume Production at Carnegie Mellon University. - At Carnegie Mellon, Chung studied under faculty including Hugh Hanson and Brian Russman. - Her training covered advanced tailoring, dancewear construction, couture techniques and theatrical armor. - Chung received the Barbara Matera Award for Costume Making in spring 2025. - Chung is now based in Queens and works in New York City’s theater scene. - At Parsons-Meares, Chung works under demanding deadlines on garments for stage productions. - Chung said the city’s street fashion, museums and theater talent feed her creative process. - Chung also said visits to Manhattan and museum textile archives often help her solve draping problems in the workroom. - The interview discusses a gown Chung draped for Desiree Armfeldt in Carnegie Mellon’s production of A Little Night Music. - The bodice of that gown used 41 pattern pieces and combined asymmetrical draping, velvet and lace overlays. - The interview also covers Chung’s work on The Wickhams Christmas at Pemberley for City Theatre Company. - For that production, Chung engineered an empire-waisted maid uniform with a hidden drop-front closure for a quick change. - Chung’s work for Flowers Meet Fashion Inspired by Billy Porter at Phipps Conservatory included an armor-like shell garment. - Chung collaborated with costume designer Caifeng Hong on that exhibition piece. - The garment used industrial zip ties, heavy-duty clips and rigid boning covered in stretch velvet rouleaux. - The train included hundreds of hand-tacked, pearl-edged ruffles. - Chung’s MFA capstone examined how Western tailoring techniques influenced the traditional Chinese QiPao. - Her research focused on the addition of shoulder seams and waist darts in the early 20th century and how those changes shaped the fitted silhouette now widely recognized. - The interview also highlights Chung’s embroidery and fabric-modification skills. - One sample combined silk ribbon embroidery, metallic bullion work and tambour beading to create a three-dimensional floral piece. - Chung also created a Japanese Kikko-style armor hood using vegetable-tanned leather tiles and metal jump rings. - Chung’s earlier backstage work as a dresser on international tours informs her focus on performers’ comfort, durability and function.

Between the lines: - The interview positions costume making as both an artistic and engineering discipline. - Chung’s projects show how one maker can move from delicate silk work to rigid structural materials without losing technical control. - Her mix of historical research and production experience suggests why costume work often depends on both scholarship and speed.

What’s next: - Chung wants to keep learning from veteran industry workers while staying at Parsons-Meares. - She eventually aims to become a lead Draper in a major New York theatrical workroom. - Chung also hopes to return to academia and teach draping and costume production. - New York Art Life Magazine says the full interview is available on its official website.