For me, costumes represent the visualization of the music. They should convey and absorb the ideas of the direction, the libretto, and the stage design, yet always follow the mood of the music, which, for me, ultimately unites all components into a harmonious flow.
This visualization of moods, which manifest as a condensation of music, text and emotion in a visualized dreamlike world, I like to call "arte nuvolesca" – a kind of blurred merging of different components that combine to form a whole, thus creating something undefined yet defined, new.

In 2023, I completed my fashion studies at the University of Applied Arts in Vienna, where my work was always inspired by opera and costumes, such as my diploma collection 'Tristan and Isolde'.
During my studies, I worked on various productions at the Vienna State Opera, for example as an assistant to Anna Viebrock for 'Il ritorno d'Ulisse in patria' and for the design and implementation of the choir costumes for 'l'Orfeo'. At the Theater in der Josefstadt, I worked as a costume assistant for 'Waiting for Godot' directed by Claus Peymann.
Since 2023, I have collaborated four times with Carolin Pienkos and Cornelius Obonya, beginning with the costume design for the opera 'Acide' at Esterházy Palace. This was followed by the costume design for 'L'elisir d'amore' in 2024 and for 'La Traviata' at the Burg Gars Opera in 2025. In February 2026, another collaboration together of Gluck's 'Orfeo ed Euridice' premierd at Stadttheater Klagenfurt. In July 2026 Laura Madgé will create the costumes for 'Madama Butterfly' at Oper Burg Gars, directed by Matthias von Stegmann.