A Conversation with Eloise Kazan

Eloise Kazan is the award-winning costume designer of El último sueño de Frida y Diego (The Last Dream of Frida and Diego).

From the Royal Shakespeare Company to Paris’s fashion house Hermès to opera houses throughout the world, Eloise Kazan has captured attention with her stunning costume designs, sets, and illustrations. Her work has been showcased in productions at Lyric Opera of Chicago, San Francisco Opera, and Ópera de Bellas Artes (Mexico). In this conversation, Kazan answers questions about her career, being part Mexican and part Croatian, and her artistic style.

SEATTLE OPERA: Tell us about your path to costume design.

ELOISE KAZAN: I always knew, in some way or another, that I wanted to be in the visual arts. I think this has to do with the fact I’m Mexican Croatian. My family moved a lot. Many times we moved to places where I didn’t speak the language. Drawing was one way for me to communicate with people. And I’ve always enjoyed fashion. Most of the women in my family liked sewing and fashion. Costuming combines drawing, sewing, and fashion.

I was lucky as a teen, because my first job was in theater. I was an assistant to an assistant—basically a production runner. I really enjoyed it. I guess that’s how I began. I really love teamwork in theater, opera, and dance. I’m always inspired by my colleagues, and I enjoy seeing a project come together. It’s almost like magic!

Frida Kahlo’s dress designed by Eloise Kazan. The orange colors were inspired by the Campasuchil, the Aztec marigold, known as “flower of the dead.” The flower is synonymous with Día de Muertos (Day of the Dead) festivals.
Eloise Kazan, photo

SEATTLE OPERA: What are your impressions of the way Frida Kahlo dressed?

ELOISE KAZAN: I think Frida, in a way, was a costume designer. Clothes speak to who we are. I believe Frida appreciated that. She understood that clothing can tell your story, express your roots, and connect to your family and ancestors. Her clothes embraced her ethnicity and expressed her personality. And she broke boundaries by dressing in men’s clothes from time to time.

As I worked on this opera, I found inspiration going to places and events that Frida might have visited and exploring traditions that surrounded her. I even imagined her in today’s world—seeing our world through her eyes. 

SEATTLE OPERA: Why is Frida Kahlo relatable to us today?

ELOISE KAZAN: She’s relatable because she is imperfect. I think everyone can relate to difficult relationships, health issues, and things going wrong. That’s life and we all experience joys and disappointments. I know that’s what I really love about her. The contradictions in her life make her relatable. On the one hand, she’s a feminist—independent and aware of her capabilities. And at the same time, she’s deeply dependent on a man, even to the point of tolerating things that women today wouldn’t. It’s interesting that she’s powerful and submissive at the same time. I think people will find that fascinating.

Two La Catrina costume sketches. La Catrina is one of the most iconic symbols of Día de Muertos. Originally created around 1910 by Mexican printmaker Jose Posada, she is now a popular figure recognized around the world and is also featured in Diego Rivera’s famous mural Sueño de una tarde dominical en la Alameda Central (A Dream of a Sunday Afternoon in the Alameda Park).
Eloise Kazan, photo

SEATTLE OPERA: Your approach to design is influenced by fantasy worlds, dark themes, and strong visually storytelling along with adapting cultural imagery. It appears this opera closely aligned with your design style.  

ELOISE KAZAN: You’re absolutely right about that. I do think that there are two things that align here very much. The first is that I can absolutely relate to Frida’s art. I found her surreal imagery very compelling that fits nicely with my design process. The second is Mexican culture and history. I’ve always found it incredibly inspiring. It’s a subject I love and there is always something new to discover.

Because I'm half Mexican and half Croatian, I kind of see Mexico from the inside and from the outside at the same time. As a kid, grandmother—who was Mexican—decorated an altar for Day of the Dead. She explained its cultural and family importance to me. My Croatian mother saw the festival as foreign and exotic and not something to honor. It was a clash of two worlds within my small family circle. So being able to see Mexico from the inside and from the outside made this project unique.

Character sketches from El último sueño de Frida y Diego.
Eloise Kazan, photo

SEATTLE OPERA: What do you hope audiences take away from this opera?

ELOISE KAZAN: I’m hoping the opera illustrates Frida’s life, especially her ideas of style and clothing. I’m hoping the costumes speaks to her bravery, playfulness, and freedom. From a larger perspective, I’m hoping the opera reveals the richness of Mexican culture and art and reminds us of why we love music and art and the beauty that surrounds us. 

El último sueño de Frida y Diego is on stage January 16–30, 2027 at McCaw Hall. Learn more and buy tickets at seattleopera.org/frida.