COSTUME DESIGN
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COSTUME DESIGN
Creative Direction - Lee Lodge
Art direction + Video Design - Studio Moross
Choreography - Paul Roberts
Set Design - Jason Sherwood
Lighting Design - Tim Routledge
Photography - Andrew Timms
UK Stadium Tour 2019
COSTUME DESIGN
Writing, Music + Lyrics - Toby Marlow + Lucy Moss
Direction - Lucy Moss + Jamie Armitage
Choreography - Carrie - Anne Ingrouille
Set Design - Emma Bailey
Lighting Design - Tim Deiling
Sound Design - Paul Gatehouse
Photography - Joan Marcus, Pamela Raith + Bryan Derballa (New York Times)
Broadway, West End, Australia, UK Tour, US Tour, Holland, South Korea + NCL 2018 - Present
Tony Award, Outer Critics Circle Award + Drama Desk Award for Best Costume Design of a Musical 2022.
Off West End Award for Best Costume Design 2019
Olivier Award + Whatsonstage Award nominations for Best Costume Design 2019.
Gabriella Slade’s dazzling costumes also bring bling, wit and character detail (and sly icon and historical references) to each of these wonder women as they strut around a concert-court set.
Variety
The six wives of that serial philanderer and occasional collector of heads, King Henry VIII, have gathered (in stunning, tricked-out get-ups by Gabriella Slade)
The Washington Post
As their backing band, the Ladies in Waiting, vamps, the sextet struts out in Gabriella Slade’s costumes, one part Tudor, one part Tina Turner in Mad Max Beyond Thunderdome, with panniers over hot pants, vinyl stomachers studded with spikes, and boots that could kick 16th-century England right in the seat of Mars.
Vulture
Gabriella Slade's glam outfits are sparkling, jewel-encrusted multi-signifiers: both midriff-baring sexy, but also sharp and stiff like armor; these doomed damsels are going to war.
Observer
Cleverly, the creators used real-life models for their Tudor divas. which gave the gifted costumer designer, Gabriella Slade, an eye-popping palette.
Chicago Tribune
Six brings together a sextet of badass queens—clad in brilliant chain-trimmed corsets, studded black boots, and spiky crown-like headpieces designed by Gabriella Slade.
New York Stage Review
In Gabriella Slade’s dazzling costumes girl group Six look like a Tudor Little Mix.
The Stage
Dressed to kill in punkish variants of period dress, the sextet display a Spice-Girls slick-ness as they strut synchronise their moves.
The Telegraph
Or doublet and fishnet-hose, as the case may be here; Gabriella Slade’s spangly costumes made my teeth hurt, but they are a spot-on synthesis of stadium pop princess and Tudor court.
Timeout
Here they are, dressed in Gabriella Slade's sci-fi pop costumes which echo the corsets and ruffs of the Tudor period, and ready to compete for the crown of who had it worst when married to his majesty.
WhatsonStage
COSTUME DESIGN
Toby Marlow + Lucy Moss
Nominated for SIX: Live on Opening Night - Best Musical Theatre Album
Grammys After Party, 2023
COSTUME DESIGN
Book - Brian Hill
New Songs, Additional Music + Lyrics - Neil Bartram
Direction - Jamie Harrison + Candice Edmunds
Movement - Neil Bettles
Set Design - Jamie Harrison
Lighting Design - Simon Wilkinson
Illusion Design - Jamie Harrison
Photography - Johan Persson
UK Tour 2021-22
Whatsonstage Award Nomination for Best Costume Design 2022
COSTUME DESIGN
Direction - Arlene Phillips
Associate Direction - James Cousins
Choreography - Oti Mabuse
Set Design - Tom Rogers
Lighting Design - Ben Cracknell
Photography - Pamela Raith
UK + Ireland Tour 2022-23
Whatsonstage award for Best Costume Design 2023
COSTUME DESIGN
Direction - Paul Foster
Musical Supervison - Sarah Travis
Choreography - Alistair David
Set Design - David Woodhead
Lighting Design - Tim Mitchell
Sound Design - Tom Marshall
Photography - Richard Davenport
Wyndams Theatre + UK Tour 2019-20
SET + COSTUME DESIGN
Direction - Luke Sheppard
Choreography - Tom Jackson Greaves
Lighting Design - Nic Farman
Sound Design - Leigh Davies
Photography - Scott Rylander
Hope Mill Theatre 2018
Whatsonstage Award Best Regional Production 2019
Luke Sheppard's fluidly coordinated, persuasive production, which fits Gabriella Slade's sumptuously realised, stifling oppressive classroom set like a glove and is enlivened by clever lighting touches by Nic Farman.
The Stage
Gabriella Slade’s intimate set design flows with the Hope Mill aesthetic brilliantly, almost an extension of the very space it’s playing in. Butterflies are encased in glass curiosity cases hanging from the walls, broken windows suggest things aren’t quite as clean and crisp as initial looks would first have it, this is a set that reflects the trappings and inner-turmoil of the show’s characters perfectly.
The Reviews Hub
Set Designer Gabriella Slade’s stark yet somehow beautifully distressed classroom feels as it if has grown right out of the walls of the theatre, and the furniture is manoeuvred expertly in the hands of Sheppard; accentuated by the brilliant work and surprise ingenuity of Lightning Designer Nic Farman. This is a piece of theatre with extremely high production values, and even higher standard of creative detail from its designers.
West End Wilma
The set and costume design from Gabriella Slade, paired perfectly with some terrifically atmospheric lighting from Nic Farman, gives a stunning look to the whole production, with the incredibly detailed Victorian schoolroom set merging perfectly into the brickwork of the theatre.
British Theatre Guide
Gabriella Slade's design strikes with intelligence utilising Hope Mill's own architecture to achieve the stark realism & immersive nature of this set.
Andrew Exeter
SET + COSTUME DESIGN
A new musical based on the book by David Walliams
Adaptation - Jon Brittain
Music - Miranda Cooper + Nick Coler
Direction - Luke Sheppard
Lighting Design - Nic Farman
Sound Design - Paul Gatehouse
Photography - Manuel Harlan
Nuffield Theatre + UK Tour 2018-19
UK Theatre Award for Best Production for Children and Young People 2019
COSTUME DESIGN
Direction - Michael Fentiman
Set Design - Madeleine Girling
Lighting Design - Jack Knowles
Sound Design - George Dennis
Photography - Marc Brenner
Vaudeville Theatre, London 2018
The men wear black or burgundy smoking jackets, while Lady Bracknell appears in a magnificent bronze outfit that suggests that if you struck her with a mallet she would clang.
The Times
Madeleine Girling's painterly sets are gorgeous, as are Gabriella Slade's opulent costumes – have created an off-kilter, only tangentially familiar world where normal rules don't apply, and in doing so they have illuminated Wilde's brilliant piece.
WhatsOnStage
COSTUME DESIGN
The Last Days of Anne Boleyn for the Tower Of London
Photography - Michael Wharley
Hair / MUA - Jimmy Owen Jones
2018
SET + COSTUME DESIGN
Direction - Stewart Nicholls
Orchestrations - Rowland Lee
Lighting Design - Chris Withers
Sound Design - Dan Higgott
Photography - Matt Martin
UK & Ireland Tour 2018
The production design is a very classy affair indeed. Gabriella Slade has very cleverly created a timeless style with the cast in ‘vintage’ costumes that take a little bit from the 20s, a smidge from the 50s and a dash from the 70s. This invokes nostalgia from all ages in the audience and evokes the costumes from Mary Poppins and Bedknobs and Broomsticks.
West End Wilma
SET + COSTUME DESIGN
Direction - Luke Sheppard
Musical Direction + Co-Sound Design - Tom Attwood
Lighting Design - Chris Withers
Co-Sound Design - Mick Livermore
Photograph - Scott Rylander
Watermill Theatre 2017 + 2019, The Other Palace 2016+2018 and UK Tour 2018
Gabriella Slade's marvellously detailed set WhatsOnStage The atmospheric set by Gabriella Slade creates the American small-town mansion of crime novelist Arthur Whitney with a piano centre stage.
British Theatre Guide
SET + COSTUME DESIGN
Direction - Dominic Hill
Lighting Design - Lizzie Powell
Photography - Tim Morozzo
Citizens Theatre 2017 Gabriella Slade’s designs are stunning, the angular shapes and sombre colour palette of the set contrasting beautifully with the shimmer and sparkle of the costumes.
The Times
COSTUME DESIGN
Direction - Poppy Burton-Morgan
Composition - Oliver Brignall
Photography - Michael Wharley + Robert Workman (V&A Location)
V&A Opera: Passion, Power Politics Residency 2017-18
COSTUME DESIGN
Choreography - Caroline Finn
Set + Lighting Design - Joe Fletcher
Photography - Rhys Cozens
National Dance Company Wales 2019
COSTUME DESIGN
direction - Luke Sheppard
Musical Direction - Tom Attwood
Movement Direction - Tom Jackson Greaves
Set Design - David Woodhead
Lighting Design - Howard Hudson
Sound Design - Gareth Fry
Photography - Manuel Harlan
Royal & Derngate 2016
What set there is, is beautiful and inventive, as are the costumes.
Broadway World
COSTUME DESIGN
Direction - Luke Sheppard
Musical Supervision - Alex Parker
Musical Direction - Isaac McCullough
Set Design - Jean Chan
Lighting Design - Nic Farnham
Sound Design - Tom Marshall
Photography | Robert Workman Southwark Playhouse 2017
Whatsonstage Award Nomination for Best Off West End Production 2018
COSTUME DESIGN
Direction - Luke Sheppard
Choreography - Drew McOnie
Music Supervision - Tom Deering
Set Design - Takis
Lighting Design - Howard Hudson
Sound Design - Gareth Owen
Photography - Johan Persson + Robert Workman
Kings Cross Theatre 2015-2017 + Southwark Playhouse 2014
Off West End Award Nomination for Best Costume Design 2015
3 Olivier Awards 2016
SET + COSTUME DESIGN
Direction - Ryan McBryde
Movement Direction - Natasha Harrison
Lighting Design - David W Kidd
Sound Design - Tom Marshall
Photography - Scott Rylander
Mercury Theatre 2018
SET + COSTUME DESIGN
Direction - Luke Sheppard
Music Direction - Tom Attwood
Lighting Design - Chris Withers
Photography - Alex Harvey-Brown
Arts Theatre + UK Tour 2016
Gabriella Slade’s meticulous set.
The Stage
COSTUME DESIGN
Choreography - Caroline Finn
Set + Lighting - Joe Fletcher
Photography - Mark Douet
National Dance Company Wales 2017 (UK + European tour)
COSTUME DESIGN
Direction - Bruce Guthrie
Lighting Design - Rick Fisher
Video Design - Andrzej Goulding
Sound Design - Mike Walker
Photography - Kirsten McTernan + Andrzej Goulding
Wales Millennium Centre 2016
Wales Theatre Award Nomination for Best Costume Design 2017
The production is impressive, with evocative video design by Andrerzej Goulding, an ambitious staging by Francis O’Conner, and costumes with a colourful pedigree from Gabriella Slade.
The Sprout
It is the lavish costumes, video projections, Bruce Guthrie’s production and Francis O’Connor’s gloriously simple but dazzling set gorgeously lit by Rick Fisher that transform the Weston Studio into an atmospheric underwater world.
Arts Scene In Wales
The visuals were stunning - a genuinely sumptuous feast of bewitching wonder; the costumes were incredible - beautifully woven and intricately created.
Wales Online
COSTUME DESIGN
Choreographer - Caroline Finn
Set + Lighting - Joe Fletcher
Photography - Rhys Cozens
National Dance Company Wales UK + European Tour 2016-18
In costumes that make them look like storybook illustrations – cowls, shifts, wraps – the dancers enact surreal scenarios that tap the primordial psyche.
The Guardian
COSTUME DESIGN
Writing + Composition - Ben Frost + Richard Hough
Direction- Luke Sheppard
Set Design - Victoria Spearing
Lighting Design - Chris Withers
Photography - Robert Workman
The Castle 2015 The show is directed superbly by Luke Sheppard, with great costumes designed by Gabriella Slade and that evocative set designed by Victoria Spearing
North Hants Telegraph
COSTUME DESIGN
Director - Alastair Whatley
Lighting - Alan Valentine
Sound - Giles Thomas
Photography - Richard Lakos
Original Theatre Company, UK Tour 2018
Gabriella Slade’s gorgeous set incorporates art nouveau arches flecked with the brass and burnished gold tones of a Klimt painting. Her costumes are no less lavish, featuring louche silks, bold patterns, and colour palettes which echo the characters’ personalities. Each couple’s outfits complement one another tastefully, while Lady Bracknell’s lilac and yellow ensemble is as striking as her overbearing demeanour.
The Stage
Gabriella Slade’s atmospheric sets of drawing room, garden and library.
The Reviews Hub
The warm setting of Algernon’s London flat, designed by Gabriella Slade, and the vibrant period costumes eased the audience quickly into Wilde’s fin-de-siècle high society world.
Exepose
SET + COSTUME DESIGN
Direction - Stewart Nicholls
Lighting Design - Rob Mills
Photography | Robert Workman + Claire Billyard
Pleasance Courtyard 2016
Stewart Nicholls' polished production boasts a gloriously quirky design from Gabriella Slade.
The Stage
The actors cleverly mimic birds in their movements, even down to their eye lashes, complimented by plenty of feathery colour and spectacle thanks to stunning costumes by designer Gabriella Slade.
British Theatre
This has to be the most quackers show on the Fringe - a short, spirited new musical by Robert J Sherman that's a real feather in his cap and should tickle all age groups... Catchy songs, colourful costumes, a very game (vocally assured) ensemble: all of this gives the Pleasance a soaraway feelgood hit.
The Telegraph
Director Stewart Nicholls keeps it all primary colours and bright lights, thanks largely to Gabriella Slade's flamboyant costumes.
Musical Theatre Review
This is an absolute shining jewel of a show, which oozes quality from start to end: from the outstanding costumes, to the catchy tunes...
The Public Reviews
But the exceptional characterisation from all the cast members and Gabriella Slade's lavish design cannot help but leaving you smiling throughout. In such a small space, Slade creates a West End standard of spectacle. Her attention to detail with the flamboyant costumes works well alongside Rob Mills' lighting, bringing the story to new heights.
Broadway Baby
The Show doesn't scrimp on production values either and the flourescent-coloured costumes are genuinely a sight to behold.
Timeout
The word "fabulous" doesn't come close to summing up the costumes; awash with sequins, glitter and neon.
The Scotsman
Everything about this musical production screams "West End transfer". The storyline is brilliant, the songs are excellent and the costumes are stunning.
Broadway World
