top of page


Jocelyne Fowler is the recipient for the 2016 Gregory Award in Outstanding Costume Design.  She has designed for Taproot Theatre (Lady Windermere’s Fan, A Civil War Christmas), Book-It Repertory Theatre (Treasure Island, Emma, Pride and Prejudice, Frankenstein, Anna Karenina, Hotel on the Corner of Bitter and Sweet and Owen Meany’s Christmas Pageant), Seattle Shakespeare Company (Mrs. Warren's Profession, Titus Andronicus and Richard II), SSC’s Wooden O (Henry IV part I, Two Gentlemen of Verona, The Tempest and Henry V), Tacoma Musical Playhouse, Seattle Musical Theatre, Vashon Opera, Youth Theatre Northwest, Harlequin Productions, Theatre 912, SecondStory Repertory, ReAct Theatre, Live Girls!, Ghostlight Theatricals, Porkfilled Productions, Bellevue College, Overlake School and Seattle Pacific University.  


Lady Windermere's Fan, Taproot Theatre, 2018

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

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

Anne of Green Gables, SecondStoryRepertory, 2017

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

The Little Mermaid, Tacoma Musical Playhouse, 2017

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

Treasure Island, Book-It Repertory Theatre, 2016

(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

A Hand of Talons, Porkfilled Productions, 2016

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

The Scarlet Pimpernel, Tacoma Musical Playhouse, 2016

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

Titus Andronicus, Seattle Shakespeare, 2016

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

Emma, Book It Repertory Theatre, 2015

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

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

Richard II, Seattle Shakespeare, 2014

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

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

Anna Karenina, Book It Repertory, 2013

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

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,

bottom of page