Georgia Dipla
Costume designer
gew_di@hotmail.com
6978843877
΄Το κοστούμι στο σύγχρονο θέατρο και το χορό’, Νοέμβριος- Δεκέμβριος 2016/ ‘Ηεργαλειοθήκη του ενδυματολόγου’, Ιανουάριος-Μάιος 2020
Georgia Dipla studied fashion design at DIEK of Galatsi.In 2018, she participated in a fashion show at the “Kamini” cultural center, with her personal collection “Tropical Urbanism.”In 2016, she attended a two-month workshop on ‘costume design for theater and dance’ at the scenography workshop of Maria Chaniotaki (LSA). She was responsible for the production organization of the theatrical play “To Nani” by Prodromos Trochides at the Fournos Theatre.In 2019, she worked as a costume designer for the children’s play “The Threat of the Koouz” by Vasilis Papadimitriou.In 2020, she attended the five-month workshop ‘The Costume Designer’s Toolbox’ with Myrto Sarma. Between 2020 and 2021, she completed her internship at the clothing workshop ‘Lovecuts.’In 2021, she worked as an assistant costume designer for the play “Erotes Theon”, by Antonis Diamantis, at the Archaeological Museum of Heraklion, Crete.In 2022, she worked as a costume designer for the dance performances “This is not a profile” by Stali Simeon, and “Blue Beyond” by Eleonora Siarava, at the Thiseion Theater and the NTNG.In 2023, she worked as a costume designer for the dance performance “Eternally Alive” by Stali Simeon, at the M54 space and at the “On Bodies” festival in Nicosia.In 2024, she worked as a costume designer for the short film “True Blood” by Evgenia Tsamakou.In 2025, she worked as both a costume designer and set constructror for the play “The Nostalgist” by Spyros Daskalakis, at the Epi Kolono Theatre.
As part of the five-month workshop “The Costume Designer’s Toolbox” with Myrto Sarma, in collaboration with lsa, we approached the theatrical work ‘The Threepenny Opera’ by Bertolt Brecht. In an effort to explore all stages of the artistic process, we began with artistic research and culminated in the final costume proposal, along with the construction of one of them to scale.
At first glance, the characters in the play clearly highlight the class inequality that exists within their small universe. However, on a deeper level, we observe that, at times, the characters are brought to an equal footing, their emotions become entangled, and their intentions are questioned.
The female characters in the play are clearly demeaned and dependent. For this reason, we made a conscious choice to emphasize this aspect through both the materials used in the costumes and the color choices.
The use of plastic as the primary material underscores the expendability of the characters and the need for a fake social status.
Specifically, the choice of the plastic glove as a recurring motif across all characters reinforces this approach, while also symbolizing the characters’ need to shield themselves from the “dirt” of the world they inhabit.
May 2022, Thiseion Theatre, Athens / September 2022, National Theatre of Northern Greece, Thessaloniki / December 2023, Berlin & Frankfurt
Performance Credits
Concept–Choreography–Artistic Direction: Eleonora Siarava
Dancer: Eftychia Stefanou
Sound Design: Yiannis Tsirikoglou
Space Design: Eleonora Siarava
Lighting Design: Eliza Alexandropoulou
Dramaturgical Advisor: Betina Panagiotara
Scenography Supervision: Christofili Kontolefa, Athina Koumparouli
Costume Supervision: Georgia Dipla
Production Assistant: Nefeli Vlachouli
Visual Communication: Christofili Kontolefa
A dance performance about time as lived experience, natural phenomenon, and corporeal event, moving through a continuum of converging temporalities.Εnvisions an imaginary world where the future penetrates the present and the present emerges into the future.Minimal, futuristic and timeless, the costume extends the body and carries the tension of time. Shades of silver and white reflect light and shadow, forming a constantly shifting outline — sometimes human, sometimes intangible. The fabric wraps the body like a delicate layer of memory and projection, in continuous dialogue with space, sound and movement.The unified leg (legging-sock) connects the body to ground and air, acting as a second skin, transmitting stillness and flow. Metallic reflections and seamless form evoke the sensation of an unbroken, hybrid body moving through time without beginning or end.