Draping

Draping is one of my favorite ways to take a designer’s rendering and make it a reality. But it goes deeper than the designer. It is about creating a garment that fits a unique human. Making sure the garment is comfortable, lasting, and practical. While also helping the actor and designer tell the character’s story. I find purpose in taking in all the different needs and desires for a garment, and guiding the work through every stage of the build process to produce a successful costume fit for the character it represents.

Disney's Frozen

Frozen at the Arvada Center was one of the most collaborative and fulfilling projects I have worked on. As Draper, I built over 8 full looks for Anna and Elsa. Including working with costume crafts and the designer to create unique and elaborate decals to embellish our builds.

Once Upon A Mattress

Once Upon a Mattress was my first holiday show at The Arvada Center. I created over five looks, not including the layers added or removed from the gowns to change from more formal to less formal, or the alterations to the purchased blue suit to combine two suits into one richly detailed, historically inspired garment.

Disney's Frozen

For my second season as a Draper at Tuacahn, I was assigned to drape Anna’s gown for the coronation day scene in Disney’s Frozen.

The Tempest

The Tempest was the first production of the 2025 summer CSF season, where I worked as the Draper. Caliban’s pleated and hand-woven design was a delight to drape. The origami pleating technique used to create the texture of the center front was a fun challenge. We used strips of raw bias fabric for the sleeves to create a loose, open bias feel.

Dance '21: Love Stories

Jamison’s design included a transforming dress that allowed the victim character to reveal wounds as she was murdered throughout the piece.

Romeo and Juliet

As Draper for Romeo and Juliet I was able to drape the outerwear for both father and daughter. For Lord Capulet the design called for a striking velvet cape.

Tartuffe

My MFA culminating project goal was as follows:

To design and build a suit for Tartuffe and a sacque-back gown for Elmire, as costumes for graduate actors to wear.

Hunchback of Nortre Dame

As one of the Drapers for Hunchback of Notre Dame, I was assigned Esmeralda’s first look, and her festival dancer look.

Cinderella

The Cinderella transformation dress was a wonderful challenge of research, trusting my instinct, and trial and error. We wanted a true early Victorian bell silhouette for the white mother’s gown, while using that structure to hide the blue gown underneath.