SWINDA

REICHELT

swinda-300.jpg

About Me

Originally from the former East German Republic, Swinda's venture into Dance, Theatre, Costume & Couture Design began as a passion since her childhood.

Swinda began to apply her knowledge of body movement, light and environment to her work which developed into her unique method of creativity that would expand over time.

Swinda was the lead designer at the Avant-Garde Fashion Show "Off-Line Berlin '90", She appeared on MTV Europe, Designed for the Komische Opera Berlin, Opera Gasteig/Munich and Millennium Awards Show with a speech from G. Schroeder (German Chancellor) for Life-TV.

In 2001 Swinda relocated to Los Angeles expanding her portfolio in Feature Films, Los Angeles Theater and Opera.

Swinda has created many clientele through her timeless fashion designs and has shifted her focus passion to creating Couture Art Sculptures that are creating quite a buzz... (to be continued)...

What Reviewers Are Saying

VS MAGAZINE

Shayna Nys Dambrot

EDITOR REVIEW

VS ECCENTRIC FALL 2012.jpg

Neither ‘designer’ nor ‘artist’ is a comprehensive label for Swinda Reichelt’s CHAMELEONIC TEXTILE FEATS, but we love this East German-born, Los Angeles-based polymath has never been one for adhering to categories. With credits from indie opera to Hollywood film plus site-specific sculptural fabric installations that transform architectural spaces into dramatic arenas of color and texture, her CV reads like Ertè’s memoirs: a glamorous, prolific hybrid of costume, couture, photography, alternative fashion, and even the occasional masked ball.

New York Times

John Anderson

FILM REVIEW

the-new-york-times-logo-featured.jpg

Evidence of this is provided by “Expired,” her anti-romantic comedy starring Samantha Morton and Jason Patric as erotically charged, thoroughly incompatible parking enforcers, working the mean streets of Santa Monica. The cast features Teri Garr and Illeana Douglas, and its credits include the couturière and installation artist Swinda Reichelt; the guitarist Andy Summers of the Police; “special thanks” to the filmmakers Marc Forster, Jeremy Podeswa and Larry Gross; and, as producer, Fred Roos, who has “The Godfather II” and “Apocalypse Now” on his résumé and said he was attracted both by the strength of Ms. Miniucchi’s script “and my affection for her.”

LA WEEKLY

Paul Birchall

THEATER REVIEW

la-weekly-header.jpg

GO  THE DOCTOR DESPITE HIMSELF In Molière’s farce, oafish woodcutter Sganarelle (Charles Fathy), his wife, Martine (Clara Bellar), (Brad Schmidt), (Raquel Brussolo), (Steven Houska). The first thing you need to know, even before watching the play’s casual thumpings, is that director Gulu Montiero’s madcap production is steeped in the art of the clowning. The show has the wonderfully shrill pitch and frantic pace of a living cartoon. The cast know the way around the 17th-century gags — and the goofiness is heightened by designer Swinda Reichelt’s jaw-dropping costumes, which turn these classical characters into outlandish figures risen from some other dimension. Sganarelle, Fathy’s grinning mug floats in what appears to be a blubbering multicolored beach ball, and when he turns into “the doctor,” he is fitted with a bizarre collar with dangling tassles your cats would adore. Sganarelle’s spiteful wife wears a plastic-y swoop skirt covered with rubber balls — and she then returns later as a sexy housemaid, wearing weird plastic blond braids and gigantic plaster breasts. The result of all this artistry is a production that is both timeless and yet cracklies with the freshness of a living children’s picture book.

BACKSTAGE

John Steely

THEATER REVIEW

Backstage logo.jpeg

Molière was a master of comedy who took great pride in skewering the medical profession of his time, since it tended to do more harm than good to its patients. These days, though the medical profession has improved, it still has flaws reminiscent of what Molière poked fun at all those years ago.
Standing out are costume designer Swinda Reichelt's loud and crazy costumes, which inject another shot of zaniness into this production, adding to the playful, good-time feel without overshadowing the central theme that the practice of medicine needs, well, more practice.

Los Angeles Times

Mark Swed

Culture Monster

LA-Times-800-pxl-cover_edited.jpg

This lavish Los Angeles production is the first full-scale presentation.

And full-scale it is. You hardly know where to look in all the clutter the designers Marcus Herse and Matt Hooper Pennington supply. The audience surrounds the sets. The witches, covered in creepy shrouds (costumes by Swinda Reichelt), have their own bins, but Yuval Sharon's staging keeps his protagonist continually on the move. At one point or another, she sings directly to just about everybody in the room, including those overhead.

Those overhead are quite the scene stealers. Rigging (by Merlin Larsen of AiRealistic) adds a tangle of ropes and rigging to the mess, which includes suitcases and shoes and a lampshade and a fan and a gas can and lots more that dangles from the webbing. Continually climbing up and down or dangling themselves, three tireless aerialists (choreographed by Bianca Sapetto) add their own mysterious presence. At one point, one of them, swaying from a rope, holds an unsteady spotlight on Lady Macbeth, a pun, perhaps on out, out damned....

No wonder the soprano goes mad. 

StageSceneLA

Steven Stanley

THEATER REVIEW

StageSceneLAlogo.png

The production looks and sounds great, from Frederica Nascimento’s French country home (featuring very believable rain seen through the windows) to Sayeg’s exquisite lighting to Myers’ impeccable sound design to Swinda Reichelt’s beautiful costumes. Frontal nudity fans of either gender will be pleased to know that both Tozer and Fisher give the audience their best Full Monty.

VARIETY

ALISSA SIMON

FILM REVIEW

Variety logo.png

The need for change — and not just the kind necessary to plug parking meters — fuels the plot of helmer Cecilia Miniucchi’s offbeat feature debut, “Expired.” An occasionally cringe-inducing mix of pathos and humor, the tightly scripted, well-acted and notably art-directed tale follows a lonely, vulnerable meter maid who falls into a comically horrific relationship with a colleague incapable of emotional intimacy. The story told in this Southern California-set indie should resonate with anyone who has ever had an abusive partner, but its idiosyncratic tone renders it arthouse fare. 

The pic’s cool, blue-toned visuals further strengthen the sense of the characters’ diametrically opposed temperaments, at the same time flattering the thesps’ cerulean eyes. A floral motif is cleverly woven through plot, decors and costume (by Swinda Reichelt).

LA WEEKLY

OPUS AWARDS

NOMINEE'S

la-weekly-header.jpg

WHEN ED SULLIVAN WAS KING: THE 31ST ANNUAL L.A. WEEKLY THEATER AWARDS

The best of our theater in 99 seats (or fewer) is recognized for the 31st year at the L.A. Weekly Theater Awards

 

COSTUME DESIGN

Wesley Crain, Hamlet Shut Up,

Sacred Fools Theatre Company

Dianna K Graener, Battle Hymn,

Circle X Theatre Company at [Inside] the Ford

Shon LeBlanc, Life Could Be a Dream,

The Hudson Mainstage Theatre

Swinda Reichelt, The Doctor Despite Himself,

Ipanema Theatre Troupe at the Electric Lodge

Dana Woods, Stick Fly, The Matrix

Theatre Company

Christina Wright, The Devil With Boobs,

Open Fist Theatre Company

Christina Wright, The Illusion,

Open Fist Theatre Company