Judith Adam studied Fashion Design at the University of Arts in Berlin-Weißensee. During her studies, she began designing costumes for dance. The analysis of the interaction between body and costume in dance became the centre of her work.
After her diploma in 2007, she started to investigate different types of dance. She has worked together with political dance director Helena Waldmann (Made in Bangladesh and Good Passports Bad Passports) as well as with the ballet choreographers Reginaldo Oliveira (Medea and Anne Frank) and Antoine Jully (Jurassic Trip and Men and Women). She has created costumes for the breakdance inspired choreographer Kadir „Amigo“ Memis (Cabdance), the analytic performer Gabriele Reuter (Tourist a de-centred play and The Amplitude) and for the experimental postmodern choreographer Deborah Hay (Tenacity of space).
Since 2004, Judith Adam has intensely been working with the modern ballet choreographer Tim Plegge. She has designed the costumes for numerous narrative ballets like Momo, A Summernight's Dream or Eine Winterreise and several Creations like Sonett XVIII.
Besides her interest in contemporary dance, she also designs costumes for Opera, Operetta and Musical. She has worked together with Corinna Tetzel (Bluebeards's Castle, Don Pasquale and An unserem Fluss) as well as with Michaela Dicu (Rocky Horror Show) and Elmar Ottenthal (Snowhite). She has created costumes for Anette Leistenschneider (Anatevka), Dominique Caron (The Bird Seller) and for Axel Köhler (The merry widow).
She works for Hessisches Staatsballett Wiesbaden Darmstadt, Badisches Staatstheater Karlsruhe, Oper Frankfurt, Oper Bonn, Deutsches Theater Göttingen, Oldenburgisches Staatstheater, HAU Hebbel am Ufer and Landestheater Salzburg.
She teaches history and development of dance costumes at the University of Arts in Dresden. Judith Adam appreciates the exchange with the new generation of costume designers, since it is that constant exchange of ideas with her colleagues in costume, stage and fashion design that is so essential for her work. She is also a board member of the professional institution Bund der Szenografen and discusses artistic and political issues of her profession.