"In the UK, they have the Queen and Zandra Rhodes."

Designer L'wren Scott

Since blasting onto the London style scene in 1969 with her own retail outlet, Zandra Rhodes has become an icon in the fashion industry. Known for her bright pink hair and glamorous designs, Rhodes, 68, has dressed the likes of '70s punk rockers, Princess Diana, Freddie Mercury, the Olsen twins and Sex and the City characters.

She's designed dinner service sets, greeting cards and swimwear. Bed linens, lingerie and cosmetics. And, in 2000, Rhodes took her skills to the opera world. Her first assignment was creating costumes for Mozart's The Magic Flute, as part of San Diego Opera's 2001 lineup. Considered a great success, Rhodes was asked to design the costumes and sets of that opera house's production of Georges Bizet's The Pearl Fishers in 2004. The opera, featuring her designs, opens Saturday at the Ellie Caulkins Opera House.

Rocky stylist Tobie Orr spoke with Rhodes about her foray into opera, working with Princess Diana and that brilliant pink hair.

How did you get involved with designing the clothing and sets for The Pearl Fishers?

I live part of the time in San Diego and part of the time in London, and by being in San Diego, I belong to the opera there. The head of the opera, in 2000, said to me, would I be interested in designing for the opera? He asked if I would do some costumes for The Magic Flute, and then he liked what I did so much he said, how about you have a go at doing sets and costumes for The Pearl Fishers. And I gaily said yes and loved every minute of it.

What are the differences between designing for stage sets and costumes and designing for real people?

Opera stars are larger than life and you can try to do exotic concepts and things like that, so it's quite amazing. It gives me a new lease on life and I get to travel around America when the show goes around and really enjoy it.

Have you always been a fan of the opera?

I've come to it late in life, which in fact has worked out wonderfully because it's been inspirational to me and it's given me a different way to see things. And now I can hum along to the opera, which I couldn't before.

We must talk about the hair. How often do you have to touch it up?

I have my hair bleached about every six weeks and then it's dyed pink at the same time. (The color is) called Pinkissimo and it's from a British company. I find it's better than seeing my hair gray. I get it trimmed about every six weeks as well.

When did you start coloring your hair?

About '71, I would have been 31. I wore a green wig in 1969 - it was a Vidal Sassoon Isadora wig and I loved wearing it, but it pinched my head. So, it struck me that the best thing to do would be to dye my hair, rather than have to wear a wig. So, that's how it originated.

Tell me about your makeup.

I sleep in my makeup. I did a one-off makeup line with MAC (in 2007). It was two lipsticks and a beautiful eye shadow palette. They put it into stores in Los Angeles and London and it sold out in two days. I loved doing it. I nearly always wear blue right around my eyes, black eyeliner. I normally wear MAC "Morange" lipstick, which is a fantastic orange color.

Color is obviously important to you. How does it inspire your work?

I think color makes life interesting and very happy. When you wear color it makes you feel good and, I mean, I like my hair pink because I don't really want to go gray. And I suppose I could choose to dye it black or I could choose something else, but I choose pink and it does make the world a lovely color every day.

Do you have a favorite color?

It's whatever color works out at the time. Sometimes people assume that it will be pink, but I don't think about it as strongly as that.

What was it like working with Princess Diana?

Well, first of all, Diana was very easygoing. She'd come into my shop for things and then choose something, but when you made it, she'd say, "Well, I can't have that quite so daring because the press are going to be waiting for me like dragons to pick on me as I step out of the car," or something like that. On the other hand, you know, she just seemed like a very sweet person.

Tell me about working with Patricia Field, stylist of Sex and the City.

Well, they really just came to me and asked me for clothes. I'd have loved to be on the set, I wasn't on the set. So, it was really just seeing how they looked (on characters).

You continue to be written about as one of the greatest artists of the 20th century, and your career and popularity have seen several so-called comebacks. How do you continue to keep things fresh?

Well, by being allowed to do things like opera and getting away from myself so that I don't get into a rut. I like to play and travel and meet people and have them comment about what I do. And then you find out if people are wearing your clothes and you see how things are being worn, you see how they apply to life. If you never see them worn, you have not a clue.

Who have been your favorite clients, past or present?

Oh, gosh. Freddie Mercury was quite fun to work with, you know, of Queen, because he came 'round in the evening and tried on the things and sort of walked around the room and tried out how they'd look and feel on the stage. He was certainly a great performer.

It was always wonderful to see the things on Princess Diana, just the same way it's wonderful to see them in opera - when you hear the music and the voice together with the movement and the costume working for it. It makes you feel good and you think, "I'm really proud of doing that."

Is there anyone you'd like to dress who you haven't yet?

I'd like to dress someone like Dolly Parton. People never think of me for something like that. But it would be great fun.

Who is your style icon?

I love amazing women who have grown old amazingly. You think of Louise Nevelson, or you think of Diana Vreeland, or of Edith Sitwell. You know, glamorous, amazing older ladies, where it doesn't matter about their age because they look so amazing.

What is your favorite piece of clothing that you own?

Oh, gosh. That's so difficult, I never have time to think about myself. I have a very lovely black silly dress that's great, because I can get it out for all occasions and it looks fabulous.

If you weren't a fashion designer, what career could you envision yourself doing?

I can't imagine myself as anything other than what I am. I've become part of what I do. I can't see myself ever without pink hair, not doing what I do. I'd like to do more opera - I love the people aspect about my work. I'm a textile designer, so I suppose I'd like to do more drawing and painting.

What's next on your plate?

I go to Mexico where I'm doing three lectures in preparation of my exhibition, Zandra Rhodes: A Lifelong Love Affair of Textiles, that was first launched in my museum in London.

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Opera Colorado

* When and where: 7:30 p.m. Saturday, Tuesday and Feb. 20, plus 2 p.m. Feb. 22 in the Ellie Caulkins Opera House, 14th and Curtis streets

* Cost: $29 to $157

* Information: 800-982-2787 or operacolorado.org.

* Of Note: Brian Mulligan, Sean Panikkar and Heidi Stober star in Bizet's tale of an eternal triangle, set in a colorful East Indian paradise.

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Guide to The Pearl Fishers

Les PÃcheurs de Perles was Georges Bizet's second staged opera, written in 1863 when the composer was 24. Though it ran for an impressive 18 performances, it soon fell out of the repertory - and was subjected to numerous revisions and alterations.

The story was originally set in Mexico, then moved to Ceylon (now Sri Lanka). Even its most familiar number, the lovely tenor-baritone duet, exists in versions with different endings.

The opera's conclusion, too, has multiple options: Some stagings have seen Zurga, the leader of the fishermen, die in a fire, or get stabbed in the back or simply watch the forest inferno as the curtain falls.

What remains unchanged is Bizet's endless gift for melody. The composer Hector Berlioz attended the premiere and heard "a considerable number of beautiful, expressive pieces filled with fire and rich coloring."

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Synopsis

A group of pearl fishermen hail the arrival of Zurga and appoint him their leader. He welcomes the return of Nadir from years of wandering. The two revive their old friendship, recalling how the love of a woman once tore them apart. This is the famous duet, in which the men vow to renounce her and preserve their friendship - and it serves as a recurring theme right to the end.

The virgin priestess LeÃla arrives, and Nadir realizes she is the woman they once loved. Alone with Nadir, she reaffirms her chastity - but the two can't resist rekindling their love.

LeÃla tells the high priest Nourabad of how she once saved the life of a stranger, who thanked her with a necklace she still wears. Zurga discovers the identity of LeÃla and, informed of her love for Nadir, angrily orders the lovers to be executed.

Later reflecting on the loyalty of Nadir and the beauty of LeÃla, Zurga considers pardoning the couple, but remains steadfast after the priestess affirms her love for Nadir. Departing sadly, she bequeaths her necklace to her mother. Zurga realizes it is the same necklace he gratefully awarded his rescuer years ago.

Zurga now intends to free the lovers, but must contend with villagers who expected a double burning at the stake. He starts a forest fire as a distraction, and, while people rush to save their homes, he releases LeÃla and Nadir. After their escape, Zurga is confronted by the angry mob.

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