Ovidio Ceñera arrived in Madrid at the age of nineteen with the dream of becoming a professional actor. His talent allowed him to study at the Real Escuela Superior de Arte Dramático y Danza de Madrid and to take on various acting roles throughout the 1980s and 1990s. However, fate—and the abilities recognized in him by his professor and academic Francisco Nieva—led him to specialize in costume design and become the head of the costume and characterization department at the Teatro Real in Madrid.
Today, as part of the interview series we are conducting in collaboration with Girbau LAB, we speak with Ovidio to learn more about how textiles are managed in a sector where a great deal of wardrobe is created, often at high costs, yet with an apparently very short lifespan.
– Ovidio, what does the work of the costume and characterization department in a theater like the Teatro Real involve?
Our job—and therefore our mission—is to ensure that all productions have the right costumes and characterization to create the expected narrative and aesthetic, adapting to the requirements of the costume designer, the director, and, of course, the budget.
We can rent a production, co-produce with other theaters, or produce it independently. If it is an in-house production or a co-production that we lead (where we are the first theater among the co-producers to stage and premiere the work), we have to do everything from scratch: sewing, purchasing, setting, fitting, repairing, and fully understanding what we want to convey. Once the production ends, we inventory and store all the costumes and create a photographic and descriptive dossier so that when the production travels elsewhere, the local costume and characterization team understands what it consists of and how to handle all the received materials. Naturally, we are responsible for bringing all these pieces, wigs, and accessories to life.
On the other hand, if it is a co-production that we do not lead or a rented opera, the work is more or less the same, but with the difference that we receive existing costumes and accessories that we must adapt to the cast in our theater: understanding how to use them, ensuring they fit our actors and actresses, making new garments if necessary, and also repairing anything that might be damaged.
In the costume and characterization department alone, there are 70 of us working.
– How many costumes can a production have?
A small production can have around 40 or 50 costumes. A standard production, about 200. And we have had productions with 500 pieces, such as The Mastersingers of Nuremberg or Carmen.
“In the costume and characterization department alone, there are 70 of us working.”
– In your in-house or lead productions, do you create all the costumes internally, or do you outsource the service?
It depends on the type of costume. When we make costumes, we buy the fabrics from factories, warehouses, or stores, depending on the fabric chosen by the costume designer. And, depending on the type of costume or our workload at the time, we also hire external workshops, which can range from large companies to small ateliers, with whom we regularly collaborate. But whenever possible, we make the costumes in our own workshop.
We also often buy basic garments from regular stores and then customize them. And, of course, we make extensive use of second-hand pieces. However, what we do most is utilize the materials we have in stock in our warehouses. We have a fabric storage room that is a real treasure, and it contains textiles that were not used when originally purchased but are reused whenever necessary and suitable for a new production.
– When you talk about stock, do you mean leftover items from productions?
No, the pieces belonging to a specific production but left unused—whether due to sizing or other reasons—usually remain with that production in case we restage it or it travels to another theater.
– So what’s in the fabric storage room?
All the materials acquired for a production but ultimately not used. There are real treasures there, and we always try to put them to good use in new productions.
“Every piece deserves special care.”
– How long is a production’s wardrobe kept?
Until it is considered to no longer have a life, as we say. When the time comes to dispose of it, we don’t throw anything away because absolutely everything can be reused in new productions or even for rehearsals.
– What is the most used costume piece?
I don’t know if it’s the most used, but the petticoats worn in most of the rehearsals at the Teatro Real were originally made for the production of Divinas Palabras, performed by Plácido Domingo in 1997, coinciding with the theater’s reopening. They have been dyed several times and used endlessly, but they are still here, almost as good as new.
– What’s the secret to making costumes last so long?
The quality of the garment is fundamental. We don’t usually buy expensive fabrics, but we always look for quality, prioritizing natural textiles. But above all, how they are cared for is key.
“To remove bad odors from clothing, the best solution is vodka diluted in a little water.”
– You must have plenty of tricks for keeping costumes in perfect condition. Can you share one?
Yes! To remove bad odors from clothing, the best solution is vodka diluted in a little water. Years ago, a Russian company that toured for months and performed in places where they couldn’t properly wash their clothes taught us this trick. It works amazingly well!
– How do you store and maintain productions so the costumes don’t get damaged?
We have huge warehouses on the outskirts of Madrid, in Arganda del Rey. Since the humidity is high, it is essential to store productions properly. Never store clothes without cleaning them first, because they may contain bacteria that can cause them to rot.
“Never store clothes without cleaning them first, because they may contain bacteria that can cause them to rot.”
– Is sustainability a priority in the performing arts sector?
At the Teatro Real, yes. The entire team is highly aware of the importance of taking care of things, reusing them, and making responsible purchases. Plus, it’s a matter of efficiency. Productions are often very expensive, so it’s essential to cut costs, reuse materials, and make exchanges, among other strategies.
From a broader perspective, significant efforts are being made to improve the environmental efficiency of productions and the theater itself. Just recently, in 2024, we received the award for Best Energy Efficiency and Sustainability Initiative from the Association of Energy Efficiency Companies (A3E) for improvements being made to the building. Step by step, we strive to do better each time.
This interview is part of a discussion space driven by Girbau LAB and So Good So Cute, aiming to generate reflection and shed light on essential aspects of circularity in the textile industry. See other published articles.
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