Every character deserves a skin.
Atelier
Costume & Theatrical Design
Elizabethan & Period
The body as architecture. Every seam a structural decision.
Queen Catherine
A Man for All Seasons · Berkshire Theater Festival
Process
Materials
- Italian dupioni silk
- Hand-dyed wool velvet
- Boned bodice (28 bones)
- Gold metallic thread
- Period-accurate lacing
Director’s Note
“The costumes didn't just dress the actors — they told the audience exactly who had power in every scene before a single word was spoken.”
The Fool
King Lear · Hudson Valley Shakespeare
Process
Materials
- Wool challis (12 colors)
- Brass bells (hand-cast)
- Linen underlining
- Leather belt & pouches
Director’s Note
“The Fool's costume made him simultaneously the most ragged and most radiant person onstage. That tension was intentional and perfect.”
Contemporary Stage
Modern bodies, modern anxieties. The silhouette as subtext.
Blanche DuBois
A Streetcar Named Desire · Steppenwolf Theatre
Process
Materials
- French silk chiffon
- Vintage lace (sourced)
- Tea-dyed cotton underlining
- Deteriorating sequins (intentional)
Director’s Note
“The dress looked like a woman trying to hold herself together. By Act Three, you could see it failing. That was the entire arc of the character, visible.”
Ensemble — Act II
Angels in America · Roundabout Theatre Company
Process
Materials
- 8 complete character builds
- Period-accurate 1980s suiting
- Steel-armature angel wings
- Feathers (ethically sourced)
Director’s Note
“Fourteen costume changes, eight actors, zero wardrobe malfunctions in 47 performances. That's not luck — that's engineering.”
Fantasy & Creature
When the body becomes a world, every scale is a decision.
The Erlking
Original Score — Chamber Opera · Brooklyn Academy of Music
Process
Materials
- EVA foam (8mm, 12mm)
- Heat-formed ABS accents
- Airbrush paint system
- Deer antler (ethically sourced)
- LED underlighting rig
Director’s Note
“Audience members asked afterward if we had brought in a creature effects house from Hollywood. We hadn't. We had one designer and six weeks.”
Puck & Oberon
A Midsummer Night's Dream · Public Theater
Process
Materials
- Iridescent silk organza
- Hand-formed wire headdresses
- Silk flowers (hand-dyed)
- Bespoke body paint coordination
Director’s Note
“The costumes made the fairy world feel genuinely other — not dress-up, but a different physics entirely.”
Editorial & Drag
The reveal is the monologue. Every seam is a punchline.
The Crimson Reveal
Commission — Solo Performance · House of Yes, Brooklyn
Process
Materials
- 4,200 hand-sewn glass beads
- Crimson silk velvet
- Magnetic breakaway seams
- Boned corset foundation
- Detachable train (12 feet)
Director’s Note
“When the skirt dropped, the entire room gasped. Then they screamed. That's a costume doing its job.”
Silver Noir
Editorial — Vogue Italia · Fashion Editorial
Process
Materials
- Liquid lamé (silver)
- Boned shoulder armature
- Horsehair braid hem
- Custom dye lot (3 variations)
Director’s Note
“The costume existed somewhere between armor and water. That impossible tension was exactly the brief.”
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Costumes Built
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Years in Production
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Productions Dressed
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Regional Theaters
From First Sketch to Opening Night
Three recent commissions, compressed.
The Winter's Tale
Berkshire Theater Festival2025First Sketch
Pencil studies, 14 characters
Toile Fitting
Muslin mock-up, 3 fittings
Final Fitting
Dupioni silk, hand-dyed
Opening Night
21 days, 8 costumes
Creature Feature
Indie Film · Dir. Marcus Webb2025
Concept Art
Digital & traditional media
Armature Build
Military-grade boning
Paint & Detail
Airbrush + hand-painted
Camera Ready
36 days, principal shoot
The Crimson Reveal
Commissioned · Drag Performer2026
Consultation
Vision board, references
Bead Layout
4,200 glass beads
Reveal Test
Magnetic breakaway seams
Show Night
35 days, one performance
Begin Your Commission
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Every commission begins with a single conversation. Bring us your script, your vision, or just a mood board — we build the rest from scratch.
Typically respond within 24 hours · Accepting commissions for Fall 2026