Michelle Humphrey
Michelle Humphrey joined NYU Steinhardt Music and Performing Arts Professions as a costume designer in 2002. Her first production, the following year, was As You Like It. Soon after, she was promoted to adjunct Costume Shop Supervisor, and in 2017, became a full-time administrator. Along the way, Humphrey said she has designed approximately 150 productions. She's built a robust costume reserve that supports Vocal Performance, Educational Theatre, Drama Therapy, Dance Education, and student workshops. "My passion for costume design has been instrumental in creating not just a costume shop, but a resource for creativity across MPAP."
What’s your favorite part of the costume-making process?
The fittings. It’s where everything starts to feel real, not just for me, but for the actors. There’s something transformational about that moment when an actor steps into their costume and begins to see themselves as the character.
If you could have any superpower to help with your job, what would it be?
It would be a magic wand that, with a single swipe, could instantly create the perfect costume. Having the costume transform again and again, shifting from an elegant Victorian gown to a dazzling futuristic ensemble, then into the perfect modern look, all in the blink of an eye. No sewing machines, no fabric scraps—just pure, effortless magic.
What’s your must have fabric or material?
Velcro! It’s basically the unsung hero of quick changes, hidden closures, and last-minute fixes. It’s the secret weapon that keeps actors from getting stuck in impossible fast changes and ensures everything stays secure without the hassle of endless buttons, zippers, or hooks.
What's a funny thing that's happened in the costume shop?
One student decided our mannequin needed personality, so they stuck a giant bunny head on it. Every time someone walked into the costume shop, they jumped. Another student named the mannequin and gave her a new outfit every week. She was the shop’s personal runway model. You never knew what you were going to walk into.
If your costume shop had a theme song, what would it be?
Grease by Frankie Valli. It’s got the perfect mix of energy, fun, and a little bit of rebellious spirit. Just like us. In our shop we throw away conventionality and embrace creativity, always finding new ways to bring characters to life with fabric, thread, and a little bit of costume magic. Grease may be the word, but in our shop, it’s also the attitude.
What’s the strangest costume you’ve made?
A while back, we worked on the opera L’Enfant et Les Sortileges, where the costumes became part of the set, literally. The actors blended seamlessly into the backdrop, almost like living scenery, before stepping forward and bringing the world to life. We painted directly onto the costumes, something we almost never do, but in this case, it was the only way to make the illusion work.
Who is your costume design icon?
One of the most inspirational people in my life is my first costume design professor, Vicky Esposito. Vicky didn’t just teach me about costume design; she shaped the way I approach creativity, problem-solving and storytelling. The lessons she shared weren’t just about fabrics and sketches; they were about how to bring characters to life, how to collaborate, and how to trust my instincts.
If you had to wear a costume every day for a month, what would it be? ○
If I had to pick one, it would be a time traveler’s ensemble, something practical, comfortable, and just mysterious enough to make people wonder if I’ve actually stepped out of another era. It’s endlessly adaptable. Need to dress it up? Add a pocket watch or a scarf that looks like it’s been through centuries of adventures. Want to stay low-key? Strip it down to the basics, and it looks effortlessly cool.
Is there a particular show or musical where you’d love to design the costumes?
Cinderella because it offers the perfect blend of fantasy, transformation and storytelling through fashion. It’s one of those rare shows where costumes aren’t just decorative, they are part of the magic. What excites me most is the challenge of making Cinderella’s ball gown feel truly magical. Whether it’s through layers of shimmering fabric, hidden quick-change elements, or a design that feels like it was spun from pure enchantment. That moment should take everyone’s breath away.
What’s your favorite costume-related movie?
Moulin Rouge! The costumes in this film are pure spectacle, bold, extravagant, and dripping with decadence. They don’t just dress the characters; they create the world. Every feather, corset and sparkling jewel adds to the over-the-top, heightened reality that makes Moulin Rouge! feel like a fever dream in the best possible way. What I love most about the costumes is how they blend historical elements with fantasy. The designs take inspiration from real 1890s Parisian cabaret but exaggerate it into something larger than life.
One piece of advice you’d give to an aspiring costume designer?
It’s a broad field with so many different paths. Whether you want to be a designer creating the overall vision, a dresser helping actors with quick changes backstage, a seamstress bringing designs to life with your skills, or a makeup artist or hairstylist. Say yes to opportunities, even if they seem small. Every production, every fitting, every quick change is a chance to learn and make connections. The best costumers aren’t just talented, they’re adaptable, resourceful, and always willing to jump in and solve problems. Stay curious, ask questions and never stop learning. This is a field where creativity and skill will take you far, but passion and persistence will take you even further.
