Who is Sarah Lawrence Wearing
Senya Scott ‘26
It’s what's judged at every award show. It’s the first question a celebrity is asked the moment they step onto the crimson carpet. It’s a statement. It’s an identity. It’s whatever you want it to be because it’s fashion! Some choose what they wear, and some, the lucky ones, are dressed. In honor of Sarah Lawrence being the alma mater of The iconic fashion designer Vera Wang, we’re shifting the conversation to the people behind the pieces.
Third-year student and costume designer, Brie DiCenzo '25 is a soon-to-be fresh face in the fashion industry. DiCenzo moved to New York from Los Angeles, California, with dreams of becoming an actor. “It’s kind of a funny and long story. I’ve always been really into clothing and style throughout middle and high school. I never really went for it because I was acting then.”
The shift from acting to fashion design created a beautiful parallel to another shift she had been undergoing. “It was also pre-transition. I was always acting like a man, and it wasn’t resonating. I wanted to do something I was passionate about, obviously, that was still connected to that world. Fashion has always been an outlet for me to express myself so it aligned perfectly for me to go into that coinciding with transition.”
Not only did this change in art form allow her to pursue something that felt right and fulfilling, but it also played a role in pushing DiCenzo toward her authentic identity as a trans woman. It all appeared to happen with divine timing. “I came to Sarah Lawrence thinking I was going to act and after my first year, it just wasn’t sitting right. I needed the change, so I started my transition, I started costume designing, and it’s been two years now!”
DiCenzo balances long-standing inspirations with fresh innovation. “I’ve always really connected to French fashion. It’s a lot of Jean Paul Gaultier, Paul Poiret, and old Coco Chanel. I’m attracted to more feminine aesthetics.”
The DiCenzo worked on costumes alongside Alissa Mills 26’ for Sarah Lawrence’s theatre production of “Eurydice.” The pieces were not only impressive but precise and filled with intention. “I had these huge, theatrical, avant-garde costumes [that] took so long to conceptualize and put together,” said DiCenzo.
One was grand and had these light gray gown-like layers that wrapped all around. Another was more angular and rich with red and orange coloring. They all went with the show’s mythical theme in a very refreshing and authentic way.
A production is able to come to life as the result of many creative and dedicated minds put together. In the same way that people express themselves through their the clothes they wear, a costume has the power to tell the audience who a character is before we even hear them speak. A good costume supports the essence of the entire performance.
Don’t let one project fool you; DiCenzo has shown a diversity of skills in her ability to jump from project to project and still deliver just what her performers need. “For a dancing piece I did, the concern was more in having the dancers be able to move in their outfits. It was about finding something practical.”
While many of us recognize the time and effort it takes to put these shows on, the theater has some ways to go in terms of becoming a space that recognizes every part of the process equitably. “I think that costumes are often put on the back burner in production. They just have these costumes appear during tech week and don’t often think about the work put in before.”
DiCenzo is a designer who wants more hands on deck. This work needs different perspectives, ideas, and dialogue around it. “I want there to be conversations about it. At production meetings, it at times feels like costumes aren't as much of a priority.”
Despite these challenges, she has not been one to back down from getting her voice heard. If she has to, she pulls out her seat at the table. DiCenzo has been able to play a large part in shifting this narrative in making fashion design a process that is visible and acknowledged behind the scenes.
“It’s just about using your voice and standing up for yourself and your artistry. It’s about knowing how to rethink your ideas and come back with more suggestions when you get shut down.”