Seamstress on the team responsible for Lucy Grey Baird, Maud Ivory and Grandma'am's costumes.
Costume design by Trish Summerville. Cutter; Léa Chaudat.
Seamstresses; Laurence Herbert, Tabea Fock, Victoria Kunz.
Assistant principal and crowd dresser.
As the only seamstress on set, I was the main alterations person for principals, crowd and stunt costumes. I also took point on the rented uniforms and assisted in fittings and dressing.
Seamstress and textile painter, I painted and dyed the petals for the dress pictured below as well as cutting and assembling many of the 300 costumes for this show. Working with stretch fabric was essential as well as with sequins, pleather, faux-fur and wire frames.
Seamstress for a high end garment manufacturer catering to small independent designers. I did small production runs as well as patterning and prototyping.
Pictured here are a selection of garments I made a small production of ; Cotton shirts for "Henri london", Printed silk dress and kimono for "Louise Coleman" and a leopard print lapel and leggings for comedian Oriana Fox.
Junior maker for the London West end shows including Harry Potter and the cursed child, Matilda and 42nd Street.
The high volume of work demanded a great attention to detail whilst working on a tight shedule.
Harry Potter being our biggest job at the time, I was cutting and assembling the capes.
As a costume trainee, I was involved in making the accessories (such as the sport caps pictured here) and in the breaking down process of certain garments.
On set, I made sure all the costumes where ready (in between wet and dry scenes) and assisted in all sorts of tasks needed on the spot.
This 1912 three-piece suit belonging to Mr. Charles S. Chaplin was made using classic tailoring techniques. A lot of research went into the historical accuracy of the garment and the pattern drafting. The wool was dyed to match the dark chocolate brown of the time.
I chose this photograph as part of the "ordinary lives" costume brief we where given as I really like to work on men's tailored garments and costumes and wanted it to become my specialty.
This is a traditional Indian men's garment from the 17th century. The original (on the left) is currently at the MET costume institute in New York.
This costume was entirely constructed with 17th century methods and by hand. The patterns on the main fabric and the golden bands where hand-drawn, screen-printed and foiled by me. Approximately 15m of fabric and 25m of the golden band was printed using a total of 9 different patterns/layers.(London, 2017)
This design was inspired by the 18th century riding habit, is what Designer Paul Brown told me when handing me the drawing.
A lot of research then went into the recreation of this design, finding the right mix between historical accuracy, practicality for an opera and fidelity to the drawing.
The red fabric was dyed by me to match the drawing and be exactly the same as the white parts.
First full costume I made on my own. A lot of work went into the underpinnings of the dress to achieve the correct shape. Working with velvet and faux-fur was new to me as well as for the millinery aspect of the project.(London, 2016)