Part of the draping series in the MFA program includes creating a historical foundation garment. I elected to create a corset inspired by silhouettes of the 1890s and based on a pattern in the Norah Waugh book “Corsets and Crinolines” for myself. Process included padding out a form, enlarging the pattern, draping a supporting back piece, and fitting the garment with the help of Hugh Hanson as an advisor / instructor.
Sue’s Wedding Dress
Custom-made wedding dress for Sue Wermus for her wedding in October 2017. Adapted from a Simplicity pattern; made of white synthetic crepe and large-motif lace.
In the fall of 2014, I began my internship at Actors Theatre of Louisville in Kentucky. This internship comprised stitching for a redesigned production of their annual productions of a Christmas Carol. Projects included a padded spandex bodysuit and fur outer layer for Puss-n-Boots, a silk velvet cape, and a variety of garment construction techniques from knife pleating to leather hand stitching.
Spaces Between Patterning
While still in undergrad, I was tasked with patterning and creating two costume pieces for a student-choreographed work, based on the patterns developed in the “Pattern Magic” book series by Tomoko Nakamichi. The patterning process was explored in muslin before being iterated in spandex.
Fabric Dye + Paint
While pursuing my MFA, I’ve had the opportunity to explore a number of fabric painting and dye techniques. Stenciling, block printing, and silk painting have become inspiring and allowed me to explore my fascination with insect forms over the course of the last year. Natural dyes have also piqued my interest, and I have spent time exploring the process of creating my own dye stuff out of red cabbage, avocado, kool aid, and more.
Casting & Mold-making: Silicone Mask
The process of creating a 2-part mold for a silicon mask illuminated many helpful processes and materials that will be instrumental to my own wearable-art practice and costume design planning. Photos demonstrate sculpt, plaster mold making, and the final silicone product.
Over the course of the years, I’ve found an affinity for costume crafts and the creation of anything “extra” to the garments we put on stage. This has lead me to experience with stitching unusual materials, from fake fur in the Puss-n-Boots costume above to raffia skirts as garlands entwining egwugwu costumes for “Things Fall Apart.” Projects have included a ruff made from pleated newspaper; “Sushi” rolls made of cotton balls, felt, and beads; and hand-painted costume pieces (such as the space suit pictured here).