Tailoring

I sparked an admiration for tailoring while digging through stock looking for Titanic-era “transitioning style” suit jackets for my graduate school design of Parade in early 2020. This grew into a fascination as I learned how to draft basic suit blocks using the Sartor System by Robert Trump. Now I utilize my foundation of the Sartor System to create tailoring for theater that expands beyond the standard 3 piece suit.

Romeo and Juliet

Lord Capulet’s design called for a striking velvet cape. I focused on achieving sharp, tailored shoulders while honoring the natural flow of the velvet within limited yardage.

Charlie and the Chocolate Factory

My first year at Tuacahn Amphitheater, I was brought on as a Draper specifically for my tailoring knowledge. This season opened with Charlie and the Chocolate Factory, and Wonka would need a suit as whimsical and unique as his confectionery creations.

Richard the 3rd

Richard the III was the second and final show of CSF’s summer season. I worked as Draper and put my tailoring skills to good use to create the two velvet looks for Richard himself.

Lyle the Crocodile

It is a great feeling to bring a character to life, specifically to introduce young audiences to the joy of theater. Lyle the Crocodile called for a tailcoat, emphasis on the tail. Using the Sartor System, I drafted a basic tailcoat, then I mocked up the jacket and tail and used the mockup to determine how dramatically the tail would flip at the end.

Once Upon A Mattress

Once Upon a Mattress was my first holiday show at The Arvada Center, and 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.