three panels featuring Lou Reed in black and white portrait in the center; surrounded by two gold panels with cut out text

Mick Rock’s mock-up for Lou Reed’s Transformer

A painting of a woman outlined in green and surrounded by the arc of the orange scarf she holds as she begins to ascend a red staircase. She wears a spiky crown and a stylized, angular dress composed of many rectangles in shades of gray and blue

Alexandra Exter’s costume design for Salomé

Costume illustration for one man and six women; wearing traditional costume of eastern Europe

Patricia Zipprodt (1925–1999)
Tevye and his daughters costume designs for the Broadway production of Fiddler on the Roof
Graphite, ink, watercolor, gouache, and textile on paper, ca. 1964
Patricia Zipprodt Papers and Designs, Billy Rose Theatre Division, The New York Public Library for the Performing Arts, Dorothy and Lewis B. Cullman Center

Tevye and his daughters costume designs for the Broadway production of Fiddler on the Roof

Costume designer Patricia Zipprodt recalled that Broadway director and producer Harold Prince and his team originally thought her costume designs were too drab because they had only seen her work on realistic plays. But she demonstrated her versatility to Prince when the two collaborated on a touring production of Thornton Wilder’s play The Matchmaker (the source material for Hello, Dolly!). Prince then hired her for most of his major Broadway shows, including She Loves Me, Fiddler on the Roof, Cabaret, and Zorba. Zipprodt’s costumes for a poor, segregated, Russian Jewish community in Fiddler on the Roof manage to capture both the joy of weddings and births and the tragedy of experiencing these happy occasions in an oppressive, anti-Semitic culture.

Holding Division: Billy Rose Theatre Division, The New York Public Library for the Performing Art…

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