BYU Theater Faculty Member Recognized with the Costume Design Award from the Costume Society of America
When Dennis Wright received notice that he had been selected for the Costume Society of America’s (CSA) 2025 Costume Design Award, he was both honored and excited. As BYU’s artistic director in the theatre program and associate professor of theatre and media arts, Wright was recognized for his intricate and expressive work on “House of Desires,” a 17th-century Spanish farce by Sor Juana Inés de la Cruz. The national award places him among a distinguished group of designers, curators and scholars who are shaping the field of costume design today.
Each year, CSA celebrates excellence in research, publication and design in the field of dress and costume. Wright’s work stood out for its creative blend of period authenticity and theatricality, particularly in its use of texture, silhouette and character-driven design. In this Q&A, he shares insights into the collaborative process behind the production, the challenges of designing comedic disguise and the personal impact of receiving recognition from peers in the national costume community.
Q: Can you describe your process of moving from concept to completed costume? What is your favorite part of the process?
Wright: The concept for this production was fairly straightforward, as the director wanted heightened realism. We were striving for general period accuracy with a theatrical flair. To create this, I chose authentic silhouettes and combined them with rich colors and fabrics that helped support the story and its characters. My favorite part of moving from concept to realized costumes is fabric selection. I love choosing colors and just the right pattern or texture to help support the characters in the story.
Q: How did the themes of House of Desires reflect your costume choices?
Wright: At its heart, “House of Desires” is a farce. It is fun and active, with characters who are flawed yet relatable and a bit ridiculous. The director chose to contrast the characters’ high social status and propriety with significant action and movement. The costumes were made to look stiff and rigid, making the active nature of the play all the more farcical.
Q: Were there any specific characters that posed a unique challenge in terms of costume design?
Wright: The character of Castano was a particular challenge. The script calls for him to disguise himself as a woman using items he pulls from a bag he is carrying. Creating just the right dress, hairpiece, veil, and gloves that he could quickly and smoothly put on in front of the audience was tricky. We rigged all of the pieces and rehearsed the scene multiple times to make sure it worked for the actor, looked good and created the desired comic effect.
Q: What sort of collaboration occurs with students and others who are part of a show?
Wright: The strongest collaboration occurs with the costume workroom. I worked closely with the cutter/draper who patterned and cut each of the costumes. She supervised a team of student stitchers who helped construct the costumes. On this project, I also worked closely with the costume shop manager who helped me construct period ruffs for most of the characters. She cut yards and yards of strips of stiff fabric, and we hand-stitched them together to create the intricate ruffs. I also designed the hair and makeup for this show and had an excellent student assistant who helped get the hairstyles of the wigs just right.
Q: What does this award from the Costume Society of America mean to you personally and professionally?
Wright: Receiving this award feels wonderful! I have been involved with this organization for a long time, but this is the first time I have submitted a production for consideration. I feel honored to be recognized by my peers and other costume professionals whom I respect immensely. I am grateful for this recognition and excited to share my work at the CSA symposium next year.
