The World of Color That Enlivens the Stage: Meet the “Dyeing Coordinator” Behind Chacott’s Costumes!

Hello! This is Medium from the Onward Group. Today, we spoke with Mana Koide from Chacott’s Production Department, Costume Production Section, who specializes in “dyeing” stage costumes for ballet and other performances.

Koide is a true “color professional,” turning customers’ visions into reality in the unique world of costume color creation. “I love watching the fabric ‘swim’ during the dyeing process,” she says. The beautiful costumes that shine under dazzling stage lights are filled with delicate craftsmanship and passion.

Breathing Life into Costumes: The Origin of a “Dyeing Coordinator’s” Dream

Editor: Could you tell us about your main responsibilities?

Koide: I receive requests from our in-house costume production team and stores that handle stage costumes, and my role is to mix dyes and dye the costumes. It’s not just ballet — I work on dyeing all kinds of stage costumes, including rhythmic gymnastics and figure skating. Sometimes I dye the fabric before it’s made into a costume, and other times I dye finished costumes. I look at each design individually and decide how best to dye it; that’s also part of my job.

Editor: What sparked your interest in dyeing stage costumes?

Koide: I’ve loved costumes ever since I was a child, when I took ballet and rhythmic gymnastics lessons. Costumes move people’s hearts and are an essential part of physical expression. I always felt that costumes serve as a “bridge” connecting performers, the stage, the audience, and even the dance industry and society. I wanted to be someone who builds that bridge, so I studied dyeing at university.

Editor: You saw costumes as part of the performance itself. Did that passion lead you to Chacott?

Koide: Even before university, I always dreamed of working at Chacott and being involved with costumes. When I started job hunting, I was shocked to learn that Chacott wasn’t hiring for dyeing technicians at the time… (laughs). But I found out that they had recruited for dyeing roles in the past, and that gave me hope. I brought my resume to Chacott’s company information session, and at the end I ran to the HR staff and directly asked, “I want to apply for the dyeing position you recruited for before!” I was living in Osaka then, but they told me there would be a technical job information session in Tokyo. Luckily, soon after, they started recruiting for the dyeing coordinator position in Tokyo, so I applied — and that’s how I joined Chacott.

Dyeing Memories: Expanding Expression Through Stage Costume Dyeing

Editor: How do you approach mixing colors?

Koide: I usually calculate the color mix in my head before starting the actual process. Muted colors are popular in the costume world these days, and the more complex the shade, the more colors I need to mix. For example, to create a muted pink, instead of just mixing similar pinks, I might add a little green dye — the complementary color — to achieve the perfect shade. There are many ways to mute a color, like adding a purplish or brownish tone, and the dyes I use change accordingly. I fine-tune the combinations depending on the color I want to achieve.

Editor: Most stage performances use lighting. How do you handle the way colors look under different lights?

Koide: You’re absolutely right — the same color can look completely different depending on the lighting, so I always check and adjust for the lighting environment. Our “dyeing room” is equipped with lighting that’s recommended in the dyeing industry, so we can recreate typical stage lighting while we work. If there’s a special request to match a specific lighting environment, sometimes we even borrow the actual lights that will be used for the performance.

Editor: I’ve heard customers sometimes ask you to restore the color of faded costumes. How do you recreate the original color?

Koide: We borrow the actual costume from the customer and discuss their requests in detail. For ballet tights, for example, the color at the waistband and the toes can be completely different, so I carefully check which part they want dyed and how it fits with the overall impression. This thorough communication helps prevent mismatches, like “This isn’t what I imagined…” after dyeing. These requests can be challenging, but when I’m able to achieve a result I’m satisfied with, and the customer is delighted, saying, “It’s exactly the same color as before!” — I feel I’ve brought their memories back to life through my dyeing work. That makes me very happy.

Editor: What do you find most rewarding about your work?

Koide: I love watching the fabric soak up the dye and change color, and when I check the finished fabric and see it turned out just as I hoped, it’s very satisfying. Seeing photos of customers wearing the finished costumes makes me feel like the world of the design sketches has come to life, and that’s hugely rewarding. Stage costumes become part of the performer’s body, and creating those colors helps maximize their expression on stage. Being able to serve as a bridge between the stage and the audience is the real thrill of dyeing.

Editor: What are your goals for the future?

Koide: I want more people to know about Chacott’s in-house factory and the techniques we’ve cultivated there. I’d like to keep improving my own dyeing skills, while also actively exploring new methods and forms of expression. Working together with people inside and outside the company, I hope to take part in projects that will grow Chacott’s fan base. The real charm of Chacott’s costume-making lies in our commitment to understanding our customers’ needs.

We never compromise, no matter how detailed the requests are; we keep communicating until we achieve the closest possible result as a team. There’s huge satisfaction in working together with customers to create their ideal costume. Through this job, I’ve discovered the joy of “creating with others” — something I didn’t experience at university.

Koide’s Must-have Item

My water bottle with a built-in purifier. Since I spend all day in front of the dyeing pots, I sweat a lot and staying hydrated is essential — I drink about two liters a day from this bottle. It’s a physically demanding job, so lately I’ve been going to the chiropractor and the gym to take care of my health!

Author of this article Takahashi: Public Relations for Onward Holdings Co., Ltd

As a student who spent most of my time learning multiple languages and bellydance, I was impressed by the diversity of Onward’s brands and thought, “This is democratic!” In 2020, I joined Onward Kashiyama as a new graduate and was assigned to the Public Relations Division of Onward Holdings the following year.