At the 78th Tony Awards, acclaimed costume designer Paul Tazewell added another prestigious honor to his groundbreaking career, winning the Tony Award for Best Costume Design of a Musical for his work in Death Becomes Her.
Speaking with GLAAD’s Tony Morrison backstage on the Tony Awards Winners Walk, Tazewell reflected on what he hopes his legacy will be, along with how he hopes young Black and queer creatives can continue to find a home on Broadway.
“I would love for my legacy to speak to me as a designer who always gave my A-game,” Tazewell said.
“And took the stories that I chose to tell with my clothing very seriously, and hopefully that touched people’s hearts and changed lives in big ways.”
For Tazewell, the impact of his work isn’t meant to be confined to one room or one night—it’s meant to reach across boundaries and borders. “I would like for that to be as global as possible,” he continued. “To touch as many lives as possible.”
Tazewell’s legacy of course is already etched into Broadway history.
He is the visionary behind the iconic costumes for the Broadway productions of Hamilton, The Color Purple, and Harriet, and of course, Wicked movies parts 1 and 2. He seamlessly blends historical accuracy with character-driven detail. And his designs don’t just clothe performers—they shape how stories are remembered, how power is communicated, and how culture evolves. With each production, Tazewell has continued to elevate costume design to a form of activism and truth-telling.
But even as he celebrates professional success, Tazewell is focused on making space for others—especially those who, like him, didn’t always see themselves reflected in the industry. He shared a powerful call to action for expanding access and nurturing the next generation of designers.
“As far as reaching out,” he said, “I think that it is making programs accessible to people who are ‘other,’ and to know that there is welcome space for those people. And it starts very, very young, and I think that it’s very, very necessary.”
Tazewell emphasized that many young people—especially Black and queer youth—don’t even know that careers in design exist, let alone believe those careers are possible for them.
“There are many people who don’t realize that there is a profession of costume design or set design or lighting design,” he explained. “And I stand here as a face for someone who grew up as ‘another,’ but I was able to achieve what I’ve achieved.”
That visibility, he said, is critical.
“I think that it’s necessary for young people to see someone that looks like them.”
Tazewell so clearly crystallizes what so many creatives of color and queer artists have long known: representation is not a luxury—it’s a lifeline. For a Black, queer designer to take center stage at the Tonys and speak not just about excellence, but about inclusion, belonging, and mentorship, is more than a personal triumph. It’s a cultural moment, and a challenge to the industry to expand who gets invited in—and who gets to stay.
At a time when LGBTQ people and creatives of color are navigating unprecedented attacks on their visibility and dignity, Paul Tazewell’s win is a blueprint for what’s possible—and a reminder that the stage is richer, more powerful, and more just when it reflects all of us.