Magdalena Stenbeck creates costumes that she hopes will both help the singers portray their roles—and help the audience understand the story. For her, collaboration within the creative team is one of the great joys of the work process, as is bringing the costumes to life.
As a child, Magdalena thought she would follow in the footsteps of her actor parents. But her mother saw something else.
“All I did was draw,” Magdalena says. “Eventually my mom asked, ‘Can’t you see where this is headed?’ She was right—an acting career never happened. I became a set and costume designer instead.
One of the things Magdalena appreciates most about working in opera is the chorus.
“The chorus is like a scenographic tool. Through their costumes, you can create an atmosphere for the whole stage—but also portray an entire society. That’s where the interplay between costume and scenography becomes really clear.”
Before the costumes appear on stage, there’s a thorough preparatory process. Magdalena works closely with the director and the set designer.
“I love that part—creating together. One person thinks this way, another that way, but in those conversations, something shared starts to grow.”
Once the direction is set, Magdalena begins sketching the costume design itself. Several perspectives are taken into account: expression, function, and practical needs.
“The costume should help the singer interpret their character, but it also has to be functional for singing, moving, lying down. The fabric must breathe, and it should be easy to put on and take off during quick changes. I keep those changes in mind right from the beginning of the process.”
One of the most inspiring moments is when the ideas start taking physical form.
“The first step is a conversation between me and the head of the atelier, where we discuss my sketches with the sewing studio. Then we choose materials and models together. Next come the fittings with the singers. That’s where it all happens—many crucial decisions are made right then. I enjoy working with bodies, making sure the costume both enhances the character and makes the wearer feel secure.”
When Magdalena was little, she used to put her drawings under the bed, hoping they would come to life by morning. Today, that dream has become reality.