Few designers have blurred the line between fashion and art quite like Dame Zandra Rhodes.

Born in Chatham, Kent in 1940 — with a mother who fitted gowns at the House of Worth in Paris and later taught at Medway College of Art — Rhodes seemed destined for a life shaped by fabric and form. She studied printed textile design at Medway before earning a scholarship to the Royal College of Art, and what followed was a career that would challenge, unsettle, and ultimately reshape the British fashion establishment. Her early designs were deemed too outrageous for traditional manufacturers; undeterred, she opened her own boutique in 1968, launched her solo collection from a Paddington studio, and quickly caught the eye of American Vogue, landing her work in the windows of Henri Bendel, Neiman Marcus, and Saks Fifth Avenue.

Over a career spanning more than five decades, Rhodes has dressed Diana, Princess of Wales, Freddie Mercury, and Marc Bolan and pioneered a high-fashion take on punk with her 1977 “Conceptual Chic” collection — beaded safety pins and deliberate tears on silk, a decade before Versace would attempt the same. She also founded the Fashion and Textile Museum in London and was awarded with a DBE, a Daytime Emmy winner, and a Royal Designer for Industry.

She also made her mark in the opera world, designing costumes and sets for opera houses from San Diego to Houston. This month, she was at the core of the designs for Palm Beach Opera’s “The Pearl Fishers,” which opened on Feb. 20 and runs through the 22nd.

OperaWire spoke to Rhodes about her experience in the opera world and the Palm Beach Opera production.

OperaWire: What was your first experience with opera?

Zandra Rhodes: My first experience with opera was designing the costumes for “The Magic Flute” for San Diego Opera in 1999. These costumes now belong to Seattle Opera.

OW: Your first experience designing costumes and sets for opera was in 2001. Since then you’ve worked on several productions. How was that first experience for you, and how has your process evolved?

ZR: It was a wonderful experience. I was guided by the fabulous staff at San Diego Opera and they helped me in understanding and adapting my designs and trademark prints for costumes and sets.

OW: What are some of the unique challenges of working in opera compared to your other collaborations?

ZR: Designing for opera is storytelling on a wonderfully impressive scale. You have to be cautious of wearability on the stage, practicality, and movement. For example, costumes must not rattle or make sounds, so the jewellery is sewn on. The costumes are also made with incredibly large seams so they can be adapted to the varying sizes of the different singers that take part.

OW: Of the sets and costumes you’ve designed for opera, what are some of your favorites, and why?

ZR: The costumes for “The Pearl Fishers” were a joy to work on and some of my favorites. Together with Missy West, Head of Costume, we bought Indian saris in the San Diego area, then took them to London and printed bold Zandra Rhodes prints on them — completely Zandra-fying them. John David Peters, who oversaw scenic designs at San Diego Opera, was a wonderful teacher. I learned so much about set design through him.

OW: Tell us about your approach to designing this production of “The Pearl Fishers” for Palm Beach Opera. What do you hope audiences will feel when they experience these designs?

ZR: When I was approached to design for this opera I went on a sketching trip to Sri Lanka to research and sketch in situ. This was a great influence, specifically for the temple scenes. I hope the audience is transported to Sri Lanka, where they can see the vibrant colours, textiles, and culture of the country through the stage.

OW: Are there any operas you would love to design sets and costumes for?

ZR: Opera is an incredible medium which is so wonderfully aligned with my dramatic and colourful design aesthetic.