This process of creating a “new-build list” lasts months, with racks and racks of costumes for each revival arriving from the Met’s costume-storage facility across the Hudson River. Working from a master list of soloists’ measurements, a team of eight production supervisors, along with head drapers and pattern makers, decided whether existing garments would fit the upcoming cast or if the department needs to create new builds based on the original designs. Preparations for the 2019–20 season began eight months before Opening Night-while the previous season was still in full swing. Having now been worn by six tenors over more than 180 performances, it underwent a fair amount of pre-season refurbishment and careful maintenance. One of 294 costumes designed by Anna Anni and Dada Saligeri for the staging’s 1987 premiere, the piece was created using genuine antique Chinese textiles. The intricately embroidered ceremonial robe below is worn by the Chinese minister Pong in the first act of Franco Zeffirelli’s spectacular production of Puccini’s Turandot-which returned to the stage most recently in October 2019. “Our goal is always to uphold the Met’s incredible standards while also being as economical as possible and working to preserve these pieces of company history,” Iberti says.
And while a number of these costumes are constructed from scratch, many more were built decades ago.
“In one season alone, our team works on well over 2,600 individual garments,” explains Elissa Iberti, the Met’s former head costumer. Year in and year out, the 110 artisans in the Met costume shops are responsible for clothing the multitudes that fill the stage night after night-from Chinese ministers to Russian aristocrats to the humble inhabitants of Catfish Row.
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