Erin Roche is an award-winning costume designer with over 20 years' experience leading costume departments across feature films and premium television. Known for her emotionally intelligent approach to design, Erin's work spans drama, genre, children's television, and limited series, bringing depth and distinction to every production she joins. 

Erin holds a Doctorate of Creative Industries from Queensland University of Technology, where her research explored the role of the costume designer in characterisation, proposing a practice-led philosophy based on embodiment of character, the voice of the designer, and deep collaboration. Erin's career highlights include her AACTA Award-winning costume design for the feature film High Ground (Bunya Productions/Savage Films, 2021), directed by Stephen Maxwell Johnson. Her work has also received AACTA nominations for The Clearing (2024, Disney+) and The Beautiful Lie (2016, ABC). 

In 2024, Erin reunited with director Emma Freeman and producers Imogen Banks and Asher Keddie to design Fake (Kindling Pictures for Paramount+), and also completed work on The Family Next Door (ABC/Beyond), again directed by Freeman. 

Other recent credits include Gnomes (Stan/Total Fiction, 2025), Crazy Fun Park (2022), a Logie Award-winning children's series created by Nicholas Verso, produced by Werner Film Productions and ABC, and NBC Universal's high-concept drama La Brea (Season 1, 2021), the largest-scale production undertaken in Victoria at the time. Erin was also engaged to complete costume design for Clickbait (2020, Matchbox/Netflix), stepping in mid-shoot on the internationally acclaimed thriller. 

Erin's film credits include Lone Wolf (Future Pictures, 2021), directed by Jonathan Ogilvie and starring Hugo Weaving, which premiered at the 2021 Melbourne International Film Festival and had its international premiere at IFFR in Rotterdam. 

In 2016, Erin was awarded a prestigious Churchill Fellowship, enabling her to undertake a seven- week international study tour. During this time, she engaged with costume designers, curators, producers, and production companies in London, New York, Los Angeles, Paris, and Vancouver, expanding her creative networks and contributing her findings back to the Australian screen community. 

Committed to excellence in costume practice, Erin is an advocate for the sustainability and visibility of costume design in the screen industry. She continues to mentor emerging practitioners, contribute to professional panels, and explore the intersection of identity, memory, and clothing in both academic and creative contexts.