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Box Office closes 1 hour prior to posted closing time. Last admissions to the Museum: NOV-FEB 9 p.m. | MAR-APR 10 p.m. | MAY-AUG 11 p.m. | SEP-OCT 10 p.m.
Opening times this week:
Monday
3pm - 11pm
Tuesday
3pm - 11pm
Wednesday
3pm - 11pm
Thursday
3pm - 11pm
Friday
3pm - 11pm
Saturday
3pm - 11pm
Sunday
3pm - 11pm
Box Office closes 1 hour prior to posted closing time. Last admissions to the Museum: NOV-FEB 9 p.m. | MAR-APR 10 p.m. | MAY-AUG 11 p.m. | SEP-OCT 10 p.m.
Opening times this week:
Monday
3pm - 11pm
Tuesday
3pm - 11pm
Wednesday
3pm - 11pm
Thursday
3pm - 11pm
Friday
3pm - 11pm
Saturday
3pm - 11pm
Sunday
3pm - 11pm
Box Office closes 1 hour prior to posted closing time. Last admissions to the Museum: NOV-FEB 9 p.m. | MAR-APR 10 p.m. | MAY-AUG 11 p.m. | SEP-OCT 10 p.m.
Opening times this week:
Monday
3pm - 11pm
Tuesday
3pm - 11pm
Wednesday
3pm - 11pm
Thursday
3pm - 11pm
Friday
3pm - 11pm
Saturday
3pm - 11pm
Sunday
3pm - 11pm
KÀ Theatre

Dominique Lemieux (1957-2024)

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Image of Dominique Lemieux

Dominique Lemieux studied fine arts and costume design at Concordia University in Québec in the late-1970s, as well as scenography at the National Theatre School of Canada. She first met prolific Canadian costume designer François Barbeau, who encouraged her to let her pencil run wild.

While her background was originally in children’s book illustration, Lemieux joined Cirque du Soleil in 1988 and allowed her work there to be informed by her illustration background.

Lemieux worked on productions such as Nouvelle Expérience, Mystère, and “O.”

WHAT HER PEERS AND MEDIA SAY ABOUT HER

From the agency that represented her:

“With an expert eye, Dominique weaves colors, patterns and fabrics into fabulous costumes. But her choice of material is not strictly guided by aesthetic considerations alone. For Dominique, determining how fibres react to skin, movement, fire or water is of vital importance, and she never loses sight of the artists’ needs.”

 

From the American Repertory Theater:

“While designing, Lemieux is deeply attuned to the needs of the performers, making choices about the fabric beyond aesthetics; she considers the way that silk will float along a performer’s body as he or she traverses the stage, or the safety of cotton in proximity to open flames or flying machetes. Such specifically eccentric thinking comes with the territory, after all. As one of the original costume designers for Cirque du Soleil, Dominique Lemieux has clothed the world’s best acrobats, jugglers, contortionists and clowns.”

 

Lemieux died in December 2024. Her former mentor, Hugo Belanger, eulogized her as follows:

“Her contribution to the visual signature of Cirque du Soleil is invaluable. With her incomparable imagination, her fabulous universe, her fantasy and her sense of wonder, she greatly contributed to what I would call the golden age of Cirque du Soleil.”

 

Cirque du Soleil co-founder Gilles Ste-Croix on her passing:

“Dominique was very precise and very concerned with the details of the making. She created costumes that were like a second skin for those who would wear them. She always made sure that the performer had the ease and freedom necessary for their performance. There is no doubt that we have lost a great artist.”

Her peer, Patricia Ruel, described her as “more than a costume designer,” but a “creator of characters, beings that she invented from scratch”.

“She created costumes that were like a second skin for those who would wear them. She always made sure that the performer had the ease and freedom necessary for their performance. There is no doubt that we have lost a great artist.”

Jack Ricks, Costume Specialist, on some of the designers he’s worked with at Cirque du Soleil, including Dominique Lemieux:

“What I’ve learned from working with them is that each one is slightly different. You have someone like Dominique Lemieux, who is the designer for both Mystère and “O”, which are both currently playing in Las Vegas; she started as a children’s book designer, and that was kind-of her aesthetic. Her work is whimsical, colorful, she loves to have everything asymmetrical. She doesn’t like to have anything balanced, so if you’re working on one of her pieces and you’re starting to get it too balanced – because, generally, that’s what we do with our eyes – she will come in and change it.”