Behind the scenes with adam keppel, wardrobe supervisor

Behind the scenes with Adam Keppel, Wardrobe Supervisor 

This year, we welcomed Adam Keppel as our new Wardrobe Supervisor. Adam plays a pivotal role in shaping the student experience at The Royal Ballet School, from collaborating on student choreography costumes to managing the intricate preparations for our year-end performances.  

We sat down with him to discuss his journey in costume design, his passion for sustainability, and the challenges that come with creating unforgettable wardrobes for the stage. 

Can you tell me what drew you to work in wardrobe and costume design? 

Honestly, I kind of fell into it. I started out working in vintage clothing, which is something I still love. I was always drawn to the craftsmanship of older pieces and how you can reuse and recycle them, which I try to carry into my work now. I’m all about saving money where I can, using what we already have, and being resourceful.  

What are some of your guiding principles in this role? 

It’s about being smart with the budget, reusing as much as possible, and finding creative ways to recycle or upcycle costumes. For example, making tutus from scratch can be expensive, but sometimes I can find a vintage ballgown that looks just as stunning and costs less. Plus, vintage pieces add so much character to a show. I love introducing vintage pieces into choreography because they add that extra layer of depth. 

What’s something you wish more people knew about working in wardrobe? 

People don’t realise how much work goes into it. Wardrobe is often overlooked in production. The performers get praised, the lighting and set design get mentioned, but the wardrobe team doesn’t always get the recognition they deserve. People might say, ‘The costumes are great!’ but they don’t really understand the chaos behind the scenes—the fittings, the last-minute changes, the mishaps. Trust me, things go wrong a lot more than you’d like to admit! 

How important do you think costumes are to the storytelling in productions? 

I think they’re pivotal. You can have a performer in a simple leotard, and the movement might tell the story on its own. But costumes add that extra layer of emotion, texture, and movement to the performance. They help convey the mood and enhance the overall experience for the audience. Costumes don’t distract—they enhance. And sometimes, that’s the missing piece to bringing the choreographer’s vision to life. 

What do you love about working on ballets and productions? 

Honestly, it’s the people. There are so many characters in this industry, and the connections you make really stick with you. It’s what makes the job more than just a job. 

What advice would you give to someone who wants to get into costume design? 

Practice, practice, practice. Take sewing courses, watch YouTube tutorials, and get hands-on experience. There are so many resources out there now—modern technology has made it so easy to learn. For example, the New York Ballet has a whole YouTube series on how to make a tutu. But the most important thing is just to do it. Mistakes will happen, trust me. You’ll burn things and shrink fabrics, but that’s how you learn. And it’s all part of the process—nobody gets it perfect the first time. Just keep at it, experiment, and have fun with it! 

Thank you to Adam for taking the time to chat with us about being wardrobe supervisor. The Royal Ballet School is hosting a Costume Sale this Saturday, 19 October, from 11.00 to 15.00. Come along to our Upper School in Covent Garden and find a treasure.