Caroline Guiela Nguyen’s Lacrima, which had a brief UK premiere at the Barbican Theatre last September, is a striking and layered exploration of the haute couture industry. The play examines the unseen labour and profound personal sacrifice that lie behind the creation of luxury garments—realities that rarely surface in public conversations about fashion.

Visually breathtaking and technically ambitious, the production links characters across continents in real time. As scenes shift between locations, the glamour associated with couture gradually gives way to something more complex, revealing the human cost behind the finished garment. Importantly, the play extends its gaze beyond Europe, drawing attention to the experiences of craftspeople in India.

The story centres on a Parisian fashion house commissioned to design a wedding dress for an unnamed British princess. From the atelier in Paris to lacemakers in France and an embroidery business and master embroiderer in Mumbai, Lacrima traces the garment’s global journey. Through these intertwined lives, the play quietly exposes the unequal structures that sustain the luxury fashion market, while also capturing the pride and devotion artisans bring to work that remains largely invisible.

Although Lacrima toured internationally last year and may not return to the stage soon, it is a production well worth seeking out if the opportunity arises.