Dr Julie Lynch APDG (Director Centre for Design Practices)

Julie Lynch (Lecturer, MFA Design)

Julie has worked extensively as a designer for drama, television, opera, dance and exhibition.

Her design career spans thirty five years, working with many of Australia’s leading directors, including: Neil Armfield, John Bell, David Berthold, Jonathan Biggins, Richard Cottrell, Gale Edwards, Eamon Flack, Lindy Hume, Lee Lewis, Stuart Maunder, Elke Neidhardt and Marion Potts. She has designed for Australia’s leading theatre companies including: Sydney Theatre Company, Opera Australia, Belvoir St, Bell Shakespeare, Victoria State Opera, The State Theatre Company of South Australia and Opera South Australia.

Julie is an APDG accredited designer, awarded to designers who have demonstrated consistent high creativity and aesthetic innovation - who have actively promoted the values of good design and given back to industry.

Julie has experience designing large scale events including: costume design for Opera Australia’s Handa Opera production of Carmen on Sydney Harbour, and the Stations of the Cross – World Youth Day, performed on and around Sydney Harbour - broadcast around the world. Her most recent work includes: designing Mark Colvin’s Kidney for Belvoir St, The Tempest for Bell Shakespeare and Arcadia for the Sydney Theatre Company.

Her work has been acknowledged by the following design awards:

The Tempest (APDG Awards, Nominee, Best Set and Costume Design 2015)
Noises Off ( Sydney Theatre Awards, Best Costume Design 2014)
Carmen (APDG Award, Best Costume 2013)
Salome (APDG Award, Best Costume 2013, nominee)
Salome (Green Room Awards, Best Opera Design, 2012)
La Bohème (APDG Award, Best Costume Design 2011)
Travesties (Sydney Theatre Award – Best Costume Design 2009)
The Rocky Horror Show (Helpmann Award – Best Costume Design 2007)
The Bourgeois Gentleman (Sydney Theatre Award – Best Costume Design 2006) 
Festen (Sydney Theatre Award – Best Costume Design 2005)
The Way of the World (Helpmann Award – Best Costume Design 2003)
Love Burns (Green Room Awards, Best Costume Design, 1998, nominee)

In 2010, Julie was dual recipient of The Women in Arts Fellowship and Rex Cramphorn Scholarship.

Julie has wide-ranging experience as an educator and administrator: she has been MFA Design Lecturer at NIDA (2015-17) and was Head of Costume (2000 – 05). She was a member of NIDA’s Academic Board (2007 - 16). She is a NIDA Company member, and is Vice President of the Australian Production Design Guild (APDG). Julie has given conference papers and presentations for: the Australian Production Design Guild (APDG), Sydney Design Week, the National Institute of Dramatic Art (NIDA), the Sydney Film Festival (SFF), the Art Gallery of NSW (AGNSW), the National Portrait Gallery of Australia (NPG), Organisation of International Scenographers, Theatre Architects and Technicians, Antwerp (OISTAT) and Critical Costume Conference, Helsinki (CCC15).

Publications include:

Lynch, Julie, review. Shakespeare and Costume, Patricia Lennox and Bella Mirabella (2015) in Studies in Costume for Performance 1, no.2 (UK: Intellect, 2016)

Lynch, Julie. “Such stuff as dreams are made on: exploring costume design’s semiotic and scenographic potential in making meaning for performance,” in Studies in Costume for Performance 1, no.1 (UK: Intellect, 2016)

Her design work is included in: Costume Design at the Turn of the Century: 1990 -2015 (Exhibition Catalogue, Moscow: A.A. Bakhrushin State Central Theatre Museum, 2015),46-48.

Her design work is included in: Fielding, Eric and Peter McKinnon, eds. Scenography 1990 – 2015 (UK: Organisation of Scenography Technicians and Architects of Theatre, 2016), 304.

Her design work is included in: Curtis, Stephen. Staging ideas: set and costume design for theatre (Strawberry Hills, NSW: Currency Press, 2014), 53,113,158,215,221.

Julie’s research interests are based around the roles, collaborations and contributions of the ‘creative collective’ within scenography. In 2018, Julie attained a Doctor of Arts degree at the University of Sydney – Department of Performance and Theatre Studies, and has a Masters of Arts by Research from the Department of Film Studies, University of Sydney (2014).


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