Danielle is a freelance artist, theatrical costume designer, and curator with over 10 years of experience. Aside from design she specializes in clothing psychology, costume history, and textiles.
She is passionate about projects that uplift community voices and share stories that engage and challenge the canonical narrative. She is particularly impassioned when working with fellow Latinx artists on projects that aspire towards authentic representation, and is humbled by the tangible impact achieved through reflective collaboration.
Regional credits for costume design include: Public Works Winter's Tale at Seattle Repertory Theatre, American Mariachi co-production at Dallas Theater Center and The Goodman Theatre, Real Women Have Curves at Dallas Theater Center, and Behold the Dreamers at Book-it Repertory Theater. Off-Broadway credits: Pity in History, No End of Blame, Gertrude The Cry, and Lovesong of the Electric Bear for the Potomac Theater Project NYC at the Atlantic Stage 2 in NYC.
She worked for a few years in Ehime, Japan under MEXT (Ministry of Education, Culture, Sports, Science and Technology), and has continued freelance translating Japanese on the side. At the Kyoto Costume Institute she completed the certified curatorial training program for Japanese and Western costumes and textiles.
Beyond art and clothing, she has a passion for the outdoors, trying to recreate her abuela's recipes, and the martial art of Aikido.
She is passionate about projects that uplift community voices and share stories that engage and challenge the canonical narrative. She is particularly impassioned when working with fellow Latinx artists on projects that aspire towards authentic representation, and is humbled by the tangible impact achieved through reflective collaboration.
Regional credits for costume design include: Public Works Winter's Tale at Seattle Repertory Theatre, American Mariachi co-production at Dallas Theater Center and The Goodman Theatre, Real Women Have Curves at Dallas Theater Center, and Behold the Dreamers at Book-it Repertory Theater. Off-Broadway credits: Pity in History, No End of Blame, Gertrude The Cry, and Lovesong of the Electric Bear for the Potomac Theater Project NYC at the Atlantic Stage 2 in NYC.
She worked for a few years in Ehime, Japan under MEXT (Ministry of Education, Culture, Sports, Science and Technology), and has continued freelance translating Japanese on the side. At the Kyoto Costume Institute she completed the certified curatorial training program for Japanese and Western costumes and textiles.
Beyond art and clothing, she has a passion for the outdoors, trying to recreate her abuela's recipes, and the martial art of Aikido.
