Chaos. That is what I love about theater. On stage, you see the grace, the beauty, and the flow of the performers. But backstage is an absolute hell. And I love it. When I was first introduced to the world of theater, I was so sure that I would become a performer. However, my lack of dancing and singing introduced me to the world behind the curtain. The art of backstage crew. Everything is in the moment or motion, and I found myself enamored with the rush. Additionally, the knowledge that my work is directly contributing to the illusion and beauty onstage makes the job even more worth it. Of course, there is much to admire about the different departments of theater. From the array of colors washing the cyc onstage from the lighting department, to the carpentry skills of the scenic designers and carpenters, to even the amalgamation of bits and bobs created by the props team. However, it was the costume and makeup department that truly captured my attention. I've received plenty of criticism about my department. Costumes and makeup aren't seen as technical as the other departments, but there is no denying the impact they have on the audience. It allows me to engage with the cast, connecting with the true faces of our beloved characters. This department encourages me to build a strong team to depend on each other to execute the director's vision. The solidarity of 6 Hair, Makeup, and Wardrobe crew vs. 60 actors is indescribable. It's no easy job. Quickly changing actors and applying makeup within the short time frame of a show is, to say the least, difficult. It is chaos. And I wouldn’t have it any other way. However, my reasons for going into theater are much bigger than my love of the craft. My reasons for pursuing costuming are to create sustainability within the art. The costume department of theaters is a large contributor to pollution. With thousands of costumes, each intricate and unique, designers rely on fast fashion and single-use textiles. Yet I believe that I can encourage a change within the industry. To encourage sustainable resources and eco-friendly construction. Fabric is such an adaptable material, so why not use it in a sustainable way? Additionally, I want to be able to represent my heritage backstage. For generations, my family has tried and failed to establish a career in the arts. Each finding themselves enamored with an art form and forced to succumb to a more stable job. I wish to represent my heritage and be the first to pursue a higher education in my craft. I refuse to let the foundation they have paved go to waste. Through pursuing a higher education in theater and design, I hope I can succeed in my objective. To create sustainability in theater to keep the chaos backstage without causing chaos in the world, and to be able to represent my family.

My art form is difficult to explain or describe, but I know that it is powerful enough to change a course of an industry. It does not require paint, music, or a pencil. My art relies solely on the needle and thread. My art is costume design. I've worked backstage in productions for many years. However, costume design has a special place in my heart due to my history with the subject. For Latinos, it's traditional to opt for a more stable job rather than pursue their intended interests. My family has had a long history of trying to go into the fashion or arts industry, but unfortunately, all have failed. My abuelos made shoes and socks until they were forced to revoke their shop for a stable job in steel. Meanwhile, my tia, who studied fashion, had to leave her sketches as she was forced to become a housewife. I am the first in my family to get the opportunity to pursue a higher education in the arts at a university, and I want to carry their work with me. I want to become one of the few Latina costume designers who incorporate sustainability into their work. Every stitch, every cut, and every thread have a purpose. From the cultural components in the designs to the upcycling of old materials, I want to incorporate the history of my family so that their actions were not in vain, as they laid the foundation where I stand. There has always been a lack of representation between me and the people backstage. Approximately 63% of people employed in productions as costume designers are white. The other 37% is made up of minorities. When my culture is shown on screen or in fashion, it is oftentimes appropriated, stolen, or incorrect. Large corporations have been accused of culturally appropriating indigenous designs from the people of Oaxaca; similar corporations have been co-opting Latino designers; and many have been caught with plagiarism. My family's culture is so rich and beautiful that it horrifies me to know that these corporations are benefiting from our heritage without crediting or reimbursing my communities. I want to work in Latinx productions where I envision my art on screen giving back to my community. To be properly represented both in front and behind the scenes. As mentioned before, my artwork will not only be an homage to my community but will also combat the issue of pollution in the film industry. The film industry is one of the largest pollutants, generating metric tons of carbon and pollution. Costume design is a large contributor to this contamination of the earth. From fast fashion to single-use textiles, costumes have a considerable carbon footprint, with the majority of clothing ending up in landfills. I hope to create sustainable costumes that could be made with biodegradable materials, collaborate with eco-friendly businesses, and upcycle old textiles. Fabric is such an adaptable material, so why not use it in a sustainable way. Overall, I envision many things for my artwork in the future. I envision it as a reflection of myself. A way to inspire younger Chicana and Latina designers. A way to honor my family and change an industry. I envision my art to be just as meaningful to myself as it is to the world.