<div style="page-break-before: always; page-break-after: always;">When Gabriela Hearst signed on to create the costumes for the San Francisco Ballet&rsquo;s recent production of Carmen, she understood that she was becoming part of something truly new. The performance was being choreographed by Arielle Smith, who wanted to tell the age-old story from a different point of view, and it would be part of the first season fully curated by the company&rsquo;s artistic director, Tamara Rojo. Carmen would no longer be a tragic figure, dying for a man (in fact, her love interest in this version is female). The production also, notably, would be part of Dos Mujeres, the ballet&rsquo;s first program dedicated to Latin American stories&mdash;and part of a historic double bill of pieces by Latina choreographers. &ldquo;You have the common language, which is useful,&rdquo; Hearst says of this approach. She is originally from Uruguay, while Smith is Cuban-British and Rojo is Spanish. &ldquo;The most important part for me was how to, in an abstract way, convey that. When it comes to the costumes, I had this idea of red, black, yellow, white&mdash;these monochrome colors that are very earthy. They feel very Latin American to me,&rdquo; Hearst says. Smith stressed to her that she wanted the costumes to feel authentic to what the characters would actually wear.<img src="https://cdn.magzter.com/1357654597/1717055600/articles/2VE22boHQ1717065265405/2161327127.jpg" style="width: 100%;" />Rojo &ldquo;[told me] that she had a costume designer in mind and it was a bit left field, someone who is very well known in the design world and wanted to try to push costume design for ballet forward,&rdquo; Smith recalls. Most of the choreography was finalized by the time Hearst came on board, so she was able to design with the movements in mind. &ldquo;We decided that the nature of the piece was that it was striking but simple, so there weren&rsquo;t going to be multiple costume changes, just one bold costume for each character. For the dancers, I think they have that agency to say, &lsquo;I might need a bit of a wider [sleeve for my] hand,&rsquo; for instance, because they have to really be able to move. Although it&rsquo;s amazing to have something so beautiful. What&rsquo;s incredible about it is that these pieces move so well.&rdquo;<img src="https://cdn.magzter.com/1357654597/1717055600/articles/2VE22boHQ1717065265405/7797737073.jpg" style="width: 100%;" />Smith and Rojo&rsquo;s relatively open direction allowed Hearst to design with a focus on sustainability, something that&rsquo;s long been a signature of her work. &ldquo;The most special thing for me is that [the outfits] were done in merino wool,&rdquo; which has never been used before for ballet costumes, &ldquo;as far as I know,&rdquo; she says. Merino is remarkably eco-friendly, a fact that Hearst loves to share with people. &ldquo;Usually, people have the misconception of thinking of wool as their grandmother&rsquo;s knitted sweaters, not realizing that it can be high-performance and ultra-thin. It&rsquo;s really beautiful to see the dancers adapting to it and testing [and seeing] that they could do all the partnering that they needed to do, all the jumps, all the arabesques.&rdquo;While designing for dance was a new arena for Hearst, devoting a huge amount of effort into creating looks for a relatively quick performance run was something she is accustomed to. &ldquo;They were trying to explain to me that it was such a short process,&rdquo; she says. &ldquo;I&rsquo;m like, &lsquo;Well, we work for six months to do a show of eight or nine minutes.&rsquo; &rdquo;

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