photo credit: Charles Osgood



Featured in Vogue‘s Red Carpet looks for the Grammy AwardsClick for full article
Jacket designed for Karim Sulayman, Tenor, Grammy Award winner for Best Classical Solo Vocal Album.





« Meriem Bahri’s dazzling, be-feathered costumes were complemented on this occasion with some adorable, elaborately crafted middle-Eastern khussa shoes for the male characters. « 
Mark Thomas Ketterson – OPERA NEWS


« Bahri’s costumes are, as always, an authentic and eye-filling symphony of ornate fabrics. »
John von Rhein – CHICAGO TRIBUNE


« Meriem Bahri’s sumptuous wardrobe of earth-toned velvets and brocades »
Mark Thomas Ketterson – OPERA NEWS


« In no small part, Meriem Bahri’s brilliant costumes pull one into the magic of all this nonsense. »
Lawrence B. Johnson – CHICAGO ON THE AISLES


« Costumes, by Meriem Bahri, were gorgeous and evocative. »
Alastair Macaulay – NEW YORK TIMES


« Meriem Bahri’s richly textured costumes »
Joanne Sydney Lessner – OPERA NEWS


« The costumes by Meriem Bahri are splendid. The swinging coat-skirts of the men, the drapey Indian trousers, and the silk fabrics all resplendently mimic the colors of Indian spices – turmeric, cinnamon, cardamom, and fiery pepper. »


Portrait – Click for full article
Hannah De Priest- SCHMOPERA


Radio interview – Click for full podcast
Oliver Camacho – OPERA BOX SCORE





« Meriem Bahri’s spectacular costumes, lavish in their draperies, fabrics and plumed headdresses »


« Just as authentic were designer Meriem Bahri’s gorgeous and ornate costumes, a veritable 17th century French aristocratic fashion parade. All those plumed headpieces and richly textured gowns, those snug doublets flared at the waist, could have come straight out of the Sun King’s courtly entertainments. »
John von Rhein – CHICAGO TRIBUNE


« Sumptuous costuming »
« Meriem Bahri’s ornate wardrobe fielded a swirl of comely brocades in a primary palette of rusts and maroons ».
Mark Thomas Ketterson – OPERA NEWS


« Meriem Bahri’s colorful, richly brocaded costumes, with ample headwear plumage, provided a feast for the eyes. »
« Vocally superb, visually sumptuous and utterly beguiling. »
« Handsomely costumed gods and goddesses flitting across the stage »





« Bahri’s costumes were elegant and comely, subtly enhancing the action without ever distracting from it. »


« Dressed in costumer Meriem Bahri’s artful re-creations of stock Elizabethan theatrical attire […] »
John von Rhein – CHICAGO TRIBUNE


« The costumes by Meriem Bahri were as freely inventive as they were suggestive of historical accuracy, although oriented more towards the late Baroque than the early Classical, like the stage design itself. Movements and gestures were beautifully coordinated by stage director Sarah Edgar, contributing to a performance that was both musically satisfying and a joy to watch overall. »
Marta Tonegutti – CHICAGO ON THE AISLE


« Bahri’s ornate period-style costumes were just the thing to dress up a desert island of the Enlightenment era […] »
John von Rhein – CHICAGO TRIBUNE


« Meriem Bahri’s costumes once again are spectacularly striking, especially the divine raiment of Giove, Giunone, and Diana, which mix classical and baroque styles. »
Barnaby Hughes – STAGE AND CINEMA


« […] charming production by Haymarket design stalwarts Sarah Edgar, Meriem Bahri, Zuleyka V. Benitez and Lindsey Lyddan. […] Bahri’s ornate costumes included plumed headgear for the gods, a red velvet tunic for Endimione and goat-fleece pants for the satyrs. »
John von Rhein – CHICAGO TRIBUNE





« As always, Meriem Bahri’s sumptuous costumes are one of the chief delights of a HOC production. She manages to get everything so perfectly right, not just historically, but aesthetically, from the embroidered fringe of Oriana’s gown to the magical symbols on Melissa’s frock. They must be seen to be fully appreciated. »
Barnaby Hughes – STAGE AND CINEMA


« Bahri, HOC’s resident costume designer since the company’s inception, quite outdid herself with her eye-filling, richly textured costumes. »
John von Rhein – CHICAGO TRIBUNE


« Meriem Bahri’s sumptuous costumes, especially the contrast between Oriana’s soft red gown and Melissa’s stiff, ornate, dark brocade, conveyed us to the 18th century. »


« This was Haymarket’s most visually appealing show to date, with a sumptuous array of period-perfect costumes (love the neck ruffs) […] »
John von Rhein – CHICAGO TRIBUNE


« Meriem Bahri’s gorgeous and well-researched costume designs are one of the chief delights of this production […] »
Barnaby Hughes – STAGE AND CINEMA


« The entrance of a sartorially resplendent quintet of shepherds and shepherdesses—well appointed by costume director Meriem Bahri—marked the opening of the second scene […] »




Featured in The People Issue – Click for full article
Deanna Isaacs – CHICAGO READER


« Caruana’s cast is genderless, seemingly empowered and subjugated by their black garb and bright blue eye makeup; Meriem Bahri’s costumes, imaginative in their regal-goth design, look interchangeable for both sexes. »


« Though Meriem Bahri’s plethora of costumes and masks can be distracting, she has great fun with that sexual ambiguity. The straps of tutu-like bustiers for the men outline their nipples, while Tiffany McCord as Lully is apparently topless, her breasts cleverly disguised. »


« Meriem Bahri’s lavish costume design brings the baroque era vividly to life through embroidered silks, flowing linen sleeves and colorful ribbons on every surface. »
Barnaby Hughes – STAGE AND CINEMA


« Pastoral leitmotifs unified this courtly entertainment, not only in the music but also in the period-specific costume and set designs of Haymarket stalwarts Meriem Bahri and David Mayernik, respectively.”

“Bahri’s eye-filling costumes were a splendid time-trip in themselves, notably Diana’s patterned-velvet mantua, the huntresses’ forest-green gowns and the hunters’ beige and brown doublets, breeches and tonnelets.”
John von Rhein – CHICAGO TRIBUNE


« […] with some of the sharpest and most character-revealing costume work to date here by the ingenious Meriem Bahri […] »


« Most stylish early opera productions in 2014″
John von Rhein – CHICAGO TRIBUNE





« […] like Meriem Bahri’s artful costumes, the designs faithfully adhered to 18th-century theatrical style and were eye-catching to boot. »
John von Rhein – CHICAGO TRIBUNE


« At Haymarket, even the costume designers have a scholarly grounding, and Meriem Bahri’s period outfits, changing from act to act — especially Vespetta’s once she had hit the jackpot — told the story […] »


« Decked out in period wigs and Meriem Bahri’s richly textured costumes, the dozen cast members looked as if they had stepped out of 17th century English paintings. »
John von Rhein – CHICAGO TRIBUNE





« Dressed in Meriem Bahri’s simple, rustic costumes, the performers looked as if they had stepped out of an 18th century landscape painting. »
John von Rhein – CHICAGO TRIBUNE


« Meriem Bahri’s ornate period costumes and set designer David Mayernik’s painted revolving panels mirrored the authentic sounds emanating from Trompeter’s « pit » band. »
John von Rhein – CHICAGO TRIBUNE