Creating Stunning Costume Designs

Love's Labor's Lost, Seattle Shakespeare Company, 2024

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"it’s Jocelyne Fowler’s costume design that is the real attention grabber here.  From the pastels that Ferdinand and his group wear to the coordinated dresses that the Princesses court wear, with each couple individually matched, to the leather appointments worn by Armado and his Spanish contingent, each costume collection has a theme, and each is well appointed and customized for the characters’ personalities.  Boyet’s costume, which looks like it’s straight out of a 1980s wedding, is a highlight, and I’ve never seen a collection of such wonderful shoes together on stage, an amazing feat of costuming." Greg Heilman, Sound on Stage

 

Romeo and Juliet, Seattle Shakespeare Company, 2024

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"And when I talk about modern, but with a flair, the best example of that is with Jocelyne Fowler’s costuming. From the almost formal wear, that the Capulet and Montague adults wear, to the more casual clothing of the younger set, the range that Jocelyne has designed for here is great. From a functionality perspective, there are a few quick changes here that require the actors to switch costumes in a short amount of time. This is something that at times goes unrecognized, but the ability to design costumes that don’t just look good, but are comfortable to wear, and fulfill the need for changes is not always easy." Greg Heilman, Sound on Stage

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The Moors, Seattle Public Theatre, 2024

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"...bouncing around the stage in bubble-gum pink sequined sneakers (more on Jocelyne Fowler’s lovely, thoughtful costume design to follow) …Fowler’s costume design, too, evokes the period but deftly weaves in modern elements and flourishes that speak to each character’s nature — Huldey’s lace blouse and skirt paired with sparkly sneakers and pink hair; Agatha’s more traditional, buttoned-up silhouette colored crimson, but with subtly masculine elements; the butterfly motifs sprinkled over Emilie’s dress and socks, suggestive of change and metamorphosis. Period, with a twist, much like the play itself." Jill Farrington Sweeney, NWTheatre.org

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A Woman of No Importance, Taproot Theatre, 2023

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"The other star of the show is Jocelyn Fowler, the costume designer whose work conjured the Victorian era with every ruffle and feather. Each ensemble was full of detail and fit each actor impeccably." Kelly Rogers Flynt, Broadway World

 

Nonsense and Beauty, Theatre 22, 2022

 

"Technically, it’s a simple but handsome production with some lovely costumes from Jocelyne Fowler carefully reflecting the setting and time period." Michael Strangeways, Seattle Gay News

 

Head Over Heels, ArtsWest, 2019

 

"Furthermore, the costume design(Jocelyne Fowler), especially for Pythio, was innovative because it included men wearing corsets. This brought out the non-binary aspect of Pythio." Esther Angeles, Drama in the Hood​

 

"Outstanding costuming by Gypsy-award-nominated costume designer Jocelyne Fowler is opulent and interesting to look at, with swirls of patterns on tights, period costuming and over-the-top bling for Pythio to wear. Shiny fabric and faux jewels are everywhere." Miryam’s Theater Musings

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Lady Windermere's Fan, Taproot Theatre, 2018

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“The costumes by Jocelyne Fowler are elaborate without being burdensome or overpowering.” Kelly Rodgers Flynt, BroadwayWorld.com 

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"Jocelyne Fowler’s lush costumes epitomize the late 19th C. upper class English.” Nancy Worssam, Arts Stage Seattle Rage 

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Anne of Green Gables, SecondStoryRepertory, 2017

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"Thoughtful costuming by Jocelyne Fowler produces looks that are more than believable for both ages." Kelly Rodgers Flynt, Seattle's Child 

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The Little Mermaid, Tacoma Musical Playhouse, 2017

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"Finally, deserving of special note is costume designer Jocelyne Fowler and assistant Grace Stone. Their costumes are colorful and inventive; the mermaid’s dresses are lovely, and some off the oddest ones, such as Ursula’s squid costume and the long-tailed, lighted eels Flotsam and Jetson are hilariously creative."  Alec Clayton, The Tacoma News Tribune

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Treasure Island, Book-It Repertory Theatre, 2016

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"(Actors) take on serveral roles as pirates and ‘regular’ crew members and watching them change into multiple sets of costuming (designed by creative Jocelyne Fowler), including shoes, is a dance in itself!" Miryam Gordon, Seattle Gay News

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"Colorful and elaborate costumes by Jocelyne Fowler really helped to establish the period and each character." Mark Douglass, Drama in the Hood

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A Hand of Talons, Porkfilled Productions, 2016

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"Equally rich looking are the gorgeous steampunk fashions by Jocelyne Fowler." Michael Strangeways, Seattle Gay Scene

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The Scarlet Pimpernel, Tacoma Musical Playhouse, 2016

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"Jocelyne Fowler works behind the TMP scenes. Costume design is her arena and her staff joins her in putting forth solid costumes for every play. The costume department outdoes itself in “The Scarlet Pimpernel.” The actors are, scene after scene, swathed in lavish fabric. When the scene calls for the costumes to be outlandish, they make that happen too. The costumers should be prominently recognized for their work." Kim Hastings, AXS

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Titus Andronicus, Seattle Shakespeare, 2016

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"Costume designer Jocelyne Fowler uses a mix of looks, with the characters’ personalities embodied in their dress. Lavinia is in a pretty, modest long gown, Tamora constantly looks like she’s ready for a dance at the strip club, and her punk teenager sons wear boots, vests, and ripped jeans like the punks they are."
 Rachel Gallagher, City Arts

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Emma, Book It Repertory Theatre, 2015

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"Who doesn’t love the pretty trimmings (including, here, Jocelyne Fowler’s splendid costumes)?" Misha Berson, Seattle Times

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"All is enhanced with the sumptuous costuming by Jocelyne Fowler, who is becoming a favorite of mine. The costuming was deceptively simple, but the embellishments made all the difference." Miryam Gordon, Miryams’ Theatre Musings

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Richard II, Seattle Shakespeare, 2014

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"Jocelyne Fowler’s costumes are in period, but not fussily so." Misha Berson, Seattle Times

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"Costume designer Jocelyne Fowler stays in sync with the sparse visuals, costuming the cast in neutral tones— browns, creams, tans, black boots—creating a unifying effect, while no one person (aside from Richard at the beginning) stands out much more than the others due to their clothing."
 Rachel Gallagher, City Arts

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Anna Karenina, Book It Repertory, 2013

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"This elegant production, with Magnificent costumes by Jocelyne Fowler...takes us vividly to the time and place of the Tsarist aristocracy." Jerry Kraft, SeattleActor.com


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"It provides the actors with ample room to explore their characters and to show off their talents, which are considerable, and for the audience to admire Jocelyne Fowler’s beautifully subtle costume design." Omar Willey, Seattlestar.net