Interview+Slideshow: Adam Arnold on Designing for OBT’s Spring Show

Choreographer Matjash Mrozewski takes members of the Oregon Ballet Theatre through the steps of The Lost Dance, which will be one of four dances in OBT’s Chromatic Quartet, April 19–28, at the Newmark Theatre. Photo by Blaine T

Mrozewski and soloist Javier Ubell exhibiting that the The Lost Dance’s choreography is a thrilling mix of athletic, streetwise movement and subtle, even eerie grace. Photo by Blaine Truitt Covert

Mrozewski and soloist Javier Ubell exhibiting that the The Lost Dance’s choreography is a thrilling mix of athletic, streetwise movement and subtle, even eerie grace. Photo by Blaine Truitt Covert

Portland designer Adam Arnold photographing rehearsal to get a sense of the movements his costumes will need to accommodate. Photo by Blaine Truitt Covert

Portland designer Adam Arnold photographing rehearsal to get a sense of the movements his costumes will need to accommodate. Photo by Blaine Truitt Covert

Company artist Grace Shibley and soloist Lucas Threefoot rehearsing a pas de deux for The Lost Dance. Photo by Blaine Truitt Covert

Company artist Grace Shibley and soloist Lucas Threefoot rehearsing a pas de deux for The Lost Dance. Photo by Blaine Truitt Covert

"Being a sort of ‘method designer,’ I decided that I should sketch the dancers as they practiced in their morning classes to get an in depth understanding of how they move, and to observe their natural movements," Arnold said. Ph

"Being a sort of ‘method designer,’ I decided that I should sketch the dancers as they practiced in their morning classes to get an in depth understanding of how they move, and to observe their natural movements," Arnold said. Ph

Threefoot and Alison Roper. Photo by Blaine Truitt Covert

Threefoot and Alison Roper. Photo by Blaine Truitt Covert

Photo by Adam Arnold

Photo by Adam Arnold

At the start of the design process, Arnold brought in clothing samples from his line and had Roper and Threefoot try them out in the dance studio. Photo by Arnold

At the start of the design process, Arnold brought in clothing samples from his line and had Roper and Threefoot try them out in the dance studio. Photo by Arnold

"Through those observations in the dance studio, I was able to draft a pattern for a dress shirt that allows for exceptional arm rotation, without the use of stretch fabrics or compromising the fitted quality I wanted in the final piece," sa

"Through those observations in the dance studio, I was able to draft a pattern for a dress shirt that allows for exceptional arm rotation, without the use of stretch fabrics or compromising the fitted quality I wanted in the final piece," sa

Arnold in the OBT costume shop. Photo by Renata Kosina.

Arnold in the OBT costume shop. Photo by Renata Kosina.

"I started with the fabric, which I draped on dress forms into pleasing silhouettes," said Arnold. "Then, from the ones I like, I would draft patterns and cut and sew them in the studio." Photo by Renata Kosina

"I started with the fabric, which I draped on dress forms into pleasing silhouettes," said Arnold. "Then, from the ones I like, I would draft patterns and cut and sew them in the studio." Photo by Renata Kosina

"I was definitely feeling a sort of anachronistic aesthetic emerging," said Arnold. "Matjash and I both wanted it to feel elegant, but sexy—a bit gritty, but not sloppy." Photo by Arnold

"I was definitely feeling a sort of anachronistic aesthetic emerging," said Arnold. "Matjash and I both wanted it to feel elegant, but sexy—a bit gritty, but not sloppy." Photo by Arnold

"Knowing that time was going to be an issue, I decided that it would be necessary for me to create the garments in my studio, rather than hand it off to a costume department," Arnold said. "Being intimately knowledgeable of my own capab

"Knowing that time was going to be an issue, I decided that it would be necessary for me to create the garments in my studio, rather than hand it off to a costume department," Arnold said. "Being intimately knowledgeable of my own capab

Shibley and Threefoot rehearse a pas de deux for The Lost Dance. Photo by Blaine Truitt Covert

Shibley and Threefoot rehearse a pas de deux for The Lost Dance. Photo by Blaine Truitt Covert

Shibley takes her turn in front of the mirror as Arnold checks the fit of the waist. Photo by Renata Kosina

Shibley takes her turn in front of the mirror as Arnold checks the fit of the waist. Photo by Renata Kosina

Company Artist Makino Hayashi taking a moment in the spotlight. Photo by Blaine Truitt Covert

Company Artist Makino Hayashi taking a moment in the spotlight. Photo by Blaine Truitt Covert

Hayashi takes the dress through a movement phrase from The Lost Dance as Arnold looks for gaps on the bodice. Photo by Renata Kosina

Hayashi takes the dress through a movement phrase from The Lost Dance as Arnold looks for gaps on the bodice. Photo by Renata Kosina

Arnold used mostly neutrals "with hints of color like persimmon, magenta, and the nostalgic grace of a color that I can only describe as pickled pheasant egg, a kind of greenish mustard gold." Photo by Arnold

Arnold used mostly neutrals "with hints of color like persimmon, magenta, and the nostalgic grace of a color that I can only describe as pickled pheasant egg, a kind of greenish mustard gold." Photo by Arnold

The pickled pheasant egg becomes a dress. Photo by Arnold

The pickled pheasant egg becomes a dress. Photo by Arnold

"My 95-year-old grandmother, who taught me to sew to begin with, was in and out of the hospital, so I moved one of my sewing machines into her living room in Vancouver, so I could sew some of the costumes by her," said Arnold. "I think

"My 95-year-old grandmother, who taught me to sew to begin with, was in and out of the hospital, so I moved one of my sewing machines into her living room in Vancouver, so I could sew some of the costumes by her," said Arnold. "I think

The costumes in action. Photo by Arnold

The costumes in action. Photo by Arnold

Dress rehearsal at the Newmark Theatre. Photo by Blaine Truitt Covert

Dress rehearsal at the Newmark Theatre. Photo by Blaine Truitt Covert

Javier Ubell and Lucas Threefoot. Photo by Blaine Truitt Covert

Javier Ubell and Lucas Threefoot. Photo by Blaine Truitt Covert

Alison Roper, Kate Oderkirk, and Makino Hayashi. Photo by James McGrew.

Alison Roper, Kate Oderkirk, and Makino Hayashi. Photo by James McGrew.

Javier Ubell and Makino Hayashi. Photo by Blaine Truitt Covert

Javier Ubell and Makino Hayashi. Photo by Blaine Truitt Covert