Portfolio

For my project on the pantomime Cinderella, I designed characters based on the pre-French Revolution era while still retaining the essential elements of the genre to make it appealing to audiences of all ages. One of my constructed characters, Fairy Liquid, served as Cinderella's godmother and was inspired by the iridescence of washing up liquid. Her dress was made of fabric with a similar sheen and flow to create a magical effect on stage. Underneath, I used a crinoline to give the dress volume and structure. To complete the character, I added full props such as a crown and wand.

I crafted this wand using a curtain pole as its base, which I meticulously wrapped in shimmering silver ribbon to achieve a smooth, polished look. To give it the shape of a star, I bent pieces of delicate jewelry wire and carefully fastened them together using soft foam to ensure stability. Finally, I adorned the star with sparkling strips of adhesive diamantes, creating a magical and enchanting effect.

In my self-directed project, I was tasked with adapting Pride and Prejudice into an online visual learning room for English students, while staying true to the 1820s time period. To ensure that the characters were easily recognizable and memorable for the students, I focused on designing traditional clothing items of the era for each character.

For my character, Caroline Bingley, who belongs to the bourgeoisie class, I paid great attention to the finest details in her attire. Her outfit is made of the finest silks and has exquisite embellishments. I incorporated free-hand machine embroidery on the trim of her skirt, which involved layering dyed silk organza over silk fuji, to achieve a delicate yet striking effect.

To complete the costume, I designed and constructed an 1820s cotton stays and a basic sleeveless chemise as undergarments. The whole outfit reflects the fashion of the time period and the character's social status, while also being functional and practical for the character's movements and actions.

For the embroidery on the trim of the skirt, I utilized the technique of freehand machine embroidery to create a stunning design. To save time, I opted to purchase pre-made roses and appliqued them onto the skirt, ensuring that they were evenly spaced around the base. Next, I crafted a branch design and outlined it using a free foot, backing it with stitch n rip to ensure its stability on the delicate silk organza. Then, I filled in the branches using silk machine embroidery threads, carefully working to ensure that each section was complete and flawless. Finally, I removed the stitch n rip and carefully pressed the embroidery into place for a flawless finish.

For my second year final project, I had the exciting task of designing and constructing Lady Gaga's iconic 2019 Met Gala look. Drawing inspiration from Tudor surcoats, I created a striking cape using an impressive 10 meters of luxurious cerise duchess satin, with the majority of the fabric used in the cape to ensure it flowed dramatically behind her. To achieve the desired puffy effect, I incorporated an enormous bum roll, along with a black cotton petticoat, to create the perfect silhouette.

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In addition to the cape, I also designed a belt and headband to complete the look, both of which were made using complementary materials and adorned with dazzling embellishments. My attention to detail and dedication to the project ensured that Lady Gaga's vision was brought to life with stunning accuracy, making for a truly memorable and show-stopping Met Gala appearance.