Cendrillon, 2025
Head Costumier: Madison Lu
Director/Choreographer: Johanna Allen
Conductor: Paul Fitzsimon
Set Designer: Ivy Miller
Associate Set Designer: Helen Zhang
Costume Designer: Maya Anderson
Lighting Designer: Richard Vabre
Vision Designer: Amy Todd
Costume Supervisor: Rose McCormick
Costume Manager: Lindsay Gerhardt
Costume Assistant: Freya Taylor
Photos Ben Fon
Into The Woods, 2025
Costume Design: Madison Lu
Director: Ylaria Rodgers
Musical Director: Steven Amos
Assistant Director: Noah Gullan
Set Design: Maya Anderson
Associate Set Design: Seah Lok
Senior Costumier: Asha Robinson
Costume Supervisor: Sophie Woodward
Costume Manager: Lucy Brownlie
Costume Assistants: Freya Taylor, Rupert Kennedy, Baden Day
Photos: Ben Fon
Curtains, 2024
Costume Manager: Madison Lu
Director: Rodger Hodgman
Musical Director: Paul White
Choreographer: Dana Jolly
Costume Designer: Miriam Clare Robinson
Associate Costume Designer: Ella Barrett
Set Designer: Jodi Hope
Lighting Designer: Sophie Louise Ness
Costume Supervisor: Sophie Woodward
Costume Assistants: Lindsay Gerhardt And Alex Van Den Bergen
Photos: Ben Fon
The Bank, 2024
Costume Assistants: Madison Lu, Natalie Wing Hei Lau, Georgia Formosa
Director: Daniela Farinacci
Assistant Director: Simon Porro
Set Design: Olivia Hall
Lighting Designer: Finnegan Comte-Harvey
Video Designer: Saskia Permezel
Vision Operator/Programmer: Amy Todd
Costume Designer: Sophie Louise Ness
Costume Supervisor: Rose McCormick
Costume Manager: Asha Robinson
Photos: Drew Echberg
Everybody, 2024
Costume Assistants: Madison Lu, Natalie Wing Hei Lau, Georgia Formosa
Director: Isabella Vadiveloo
Set Design: Stephanie McNally
Lighting Designer: Giovanna Yate Gonzalez
Vision Designer: Jett Manzie
Costume Designer: Charlie Lee
Costume Supervisor: Duraan Reid
Costume Manager: Isobel McCauley
Photos: Drew Echberg
Madison and Maya in the making of Cinderella’s dress for Cendrillon 2025
Costume Designer: Maya Anderson
Head Costumier: Madison Lu

Hi! I’m Madison, a Melbourne basesed Costume and Set Designer.
I have an affinity for character, I want to interweave unspoken narratives through silhouettes and materiality. I believe that a production’s design is a character to explore and expose, using aesthetic impact instead of words.
My practice has a draw to the magical and the unexpected, mixing careful proportion with dashes of chaos.
I have completed Bachelor of Fine Arts (Production) at the Victorian College of the Arts in 2025.
My design process incorporates analog exploration focusing on the tactile, with pencils, paints, paper and fabrics, mixing it with the modern technologies of digital rendering and 3D spacial design. I have skills in design as well as costume construction and costume management. My sewing skills range from hand sewing to machine, both domestic and industrial.