All That Glimmers: Celebrating Can Can’s Costume Legacy

If clothes could talk, Can Can’s wardrobe would have stories to sing—and maybe a few secrets to spill. Every stitch has seen its fair share of standing ovations, from jaw-dropping showstoppers to impeccably tailored top hats. As Can Can celebrates 20 years of artistry and transformation, we’re diving into the archives, reliving the magic, and uncovering the stories stitched into every sequin and seam. And who better to guide us through this sartorial spectacle than Shadou Mintrone?Get ready to step behind the curtain as Shadou takes us through Can Can’s most unforgettable costumes—celebrating two decades of artistry, innovation, and show-stopping style. Read on for a peek inside the wardrobe that has contributed to the Can Can’s legacy, one dazzling look at a time.

THECANCAN.COM: Can you walk us through your creative process when designing costumes for a new Can Can show?

Shadou Mintrone: It always starts with a conversation—usually many conversations. From there, we create a Pinterest board. For Carnival of Curiosities, it wasn’t so much about specific looks as it was about the overall vibe. We wanted to capture the energy of a carnival, and as we moved further into rehearsals, the design became more specific. 

What’s interesting about Carnival of Curiosities is that the theme organically expanded beyond just the stage. We started incorporating food motifs—cotton candy, popcorn—which wasn’t originally planned, but it made sense. Concessions are such a huge part of carnivals, and now even the kitchen and bar are shaping their menus around the theme. It’s been cool to see how the whole space has embraced the concept.

THECANCAN.COM: With Can Can shows continually displaying such iconic and immersives themes, how do you balance practicality and spectacle in costume design?

Shadou Mintrone: That’s a huge consideration, especially in a space like ours. The backstage area is tight, and the performers have to navigate around large set pieces—this new show alone has a giant piano, an anchor apparatus, and even a system where Nick gets lifted into the air by Jonny and Travis pulling on a lever.

Because of that, we have to be really strategic with costume changes. The girls always change shoes to match their costumes, so you have to think about things like, “How quickly can we make this switch? What’s the easiest thing to modify?” For NOIR, we had these incredible costumes with hand motifs that were both stylish and a little eerie. The hands were a major design element throughout the show—painted onto costumes, incorporated into gloves—it was a really striking visual. But beyond just looking cool, we also had to make sure they worked for movement, especially since NOIR had such a sleek, dynamic energy. It’s always about finding that balance between aesthetics and function.

There’s a mermaid number in Carnival of Curiosities, I originally made a blue and pearl seashell bra, but we changed the color palette. Instead of remaking everything, we kept the original mermaid tail, which is a vintage Can Can piece, and I created a new gold and pink bra to match. The easiest thing to change was the mermaid, not the five costumes we wear afterward.

THECANCAN.COM: Over the years, you’ve designed countless costumes at Can Can. Do you have any standout favorites or particularly memorable pieces?

Shadou Mintrone: One of my all-time favorites is the Oogie Boogie dress from This Is Halloween. It’s such a bold, dramatic piece, and I love how it moves on stage—it really embodies the character in such a fun way. The light-up skirts and rhinestone corsets from Wonderland are another that stands out. It had this incredible old-Hollywood elegance, and I remember wanting it to feel like something out of a dream. I also have a soft spot for the classic Can Can fringe pants. They’ve been a staple for years, and every time I reinvent them in a new color or style, it’s like bringing a little piece of Can Can history into the present. And I’ll always love a good top hat! There’s something about a well-structured, theatrical hat that instantly elevates a look. Another special moment was repurposing the mermaid tail for Carnival of Curiosities—it was originally made for Fae over a decade ago. I love finding ways to weave past designs into new productions, keeping that sense of continuity while still pushing things forward.

THECANCAN.COM: You mentioned the mermaid skirts are vintage Can Can pieces. Are there other costume elements from past shows making a return?

Shadou Mintrone: A lot of Carnival is new, but there are some nods to past shows. The mermaid tail I’m wearing is actually one of Fae’s old costumes that was worn in Can Can’s original space —I didn’t make it, someone else did, and it’s probably over ten years old. It’s cool to have that piece of history incorporated.

We also have staple elements making a comeback, like the classic fringe pants in a new color. And the mermaid number includes a sailor costume, which is a throwback to Boogie Woogie Bugle Boy, a brunch number we did in the old space. There’s also a musical connection—some of the songs we’re using are from early Can Can days, which hold a lot of meaning for Chris, Fae, and Jonny.

THECANCAN.COM: With so much new work constantly being created, do you ever have a hard time revisiting past designs?

Shadou Mintrone: People always ask me what my favorite costume is, and honestly? When I’m in the middle of a show run, I hate them all! (Shadou laughs) I’ve been staring at them for months, so by the time we’re on stage, I don’t want to see another hat or rhinestone.

But when I pull things out of storage a year later, I have a new appreciation for them. Recently, I looked at the Dolly! costumes again and thought, “Oh yeah, I really loved this.” Sometimes those past designs even inspire my next project—like taking a familiar concept and figuring out how to push it further.

THECANCAN.COM: How do you honor Can Can’s rich history while keeping the looks fresh and exciting?

Shadou Mintrone: I think the biggest shift I’ve noticed is in the storytelling. When I started, Can Can was a little less story-driven—it was more like, “Here’s a fun number, here’s a gimmick.” . We’re still embracing that original grit, but it’s refined.

Jonny always tells this story about the early days when he and two other performers were running their own lights and sound, pressing play on an iPod to cue the show. Tickets were maybe $5. That scrappy, DIY spirit is still in the DNA of Can Can, but now it’s elevated. We’ve grown into something more polished, but we haven’t lost sight of where we came from.