Sewing

Skills: Men’s and Women’s Alterations, Cutting and Draping, Millinery, Pattern Drafting, Period Styles, Wedding Dress Alterations

Build: Two tone silk dupioni tunic and pants. Constructed three tunics and one pair of pants. Tunics were fully lined with flat felled side back seams, and fashion stitching along collars. Pants were flat lined on the bias with a true trouser waistband, closures, and pockets.

Chorus in Ellen McLaughlin's "The Oresteia". Costume Design by Susan Hilferty.

Chorus in Ellen McLaughlin's "The Oresteia". Costume Design by Susan Hilferty.

Performed in Shakespeare Theatre Company's Sidney Harman Hall, 775 seats.

Build: Black, wool crepe, tea-length dress. Fully lined with built in shoulder pads, invisible zipper, and overlap at sleeve cuff.

Queen Elizabeth in Shakespeare's "Richard III". Costume Design by Murell Horton.

Queen Elizabeth and the Archbishop of Canterbury in "Richard III" by William Shakespeare. Costume Design by Murell Horton.

Photo by Scott Suchman.

Performed in Shakespeare Theatre Company's Sidney Harman Hall, 775 seats.

Build: Black wax-finish canvas coat. Couldn't be folded or pressed since the wax finish melted and marred easily and noticebly. Rulers and other tools were used to crease the fabric in place of pressing and coat was left in organic heap whenever it needed to be set down.

Sir Richard Ratcliffe in "Richard III" by William Shakespeare. Costume Design by Murell Horton.

Lord Lovel, Richard, Duke of Gloucester, and Sir Richard Ratcliffe in "Richard III" by William Shakespeare. Costume Design by Murell Horton. Photo by Scott Suchman.

Performed in Shakespeare Theatre Company's Sidney Harman Hall, 775 seats.

Build: Gold silk slip. Slip and matching bloomers were seen fully onstage as part of a strip-tease, though both pieces were also worn throughout the show. Slip has knife pleats beginning left and right at the side front, tucks at the hem, and a center back closure hidden behind a pleat.

Becky Sharp in Kate Hamill's "Vanity Fair". Costume Design by Jennifer Moeller.

The cast of Kate Hamill's "Vanity Fair". Costume Design by Jennifer Moeller. Photo by Scott Suchman.

Performed in Shakespeare Theatre Company's Lansburgh Theater, 451 seats.

Build: Gold silk bloomers. Bloomers were seen fully onstage as part of a strip-tease along with the actress' matching slip (see above). Built from a very slippery fabric, the bloomers have several pleats through the yoke, tucks, and lace at the hem.

Becky Sharp in Kate Hamill's "Vanity Fair". Costume Design by Jennifer Moeller.

The cast of Kate Hamill's "Vanity Fair". Costume Design by Jennifer Moeller. Photo by Scott Suchman.

Performed in Shakespeare Theatre Company's Lansburgh Theater, 451 seats.

Build: Green and brown plaid trousers. Fully pattern matched, trousers have side seam pockets, welt pockets, a cuff at the hem, and a pleat in the front.

Benjamin Mandelshtam in David Ives' "The Panties, The Partner, and the Profit". Costume Design by Frank Labovitz.

Louise Mask, Joseph Mask, and Benjamin Mandelshtam in David Ives' "The Panties, The Partner, and the Profit". Costume Design by Frank Labovitz. Photo by Scott Suchman.

Performed in Shakespeare Theatre Company's Lansburgh Theater, 451 seats.

Build: Pink silk over-dress. Bodice of dress was flat lined, skirt panels were french seamed, and brown grosgrain was applied prior to final assembly.

Thomasina Coverly in Tom Stoppard's "Arcadia". Costume Design by Sara Ice.

Thomasina Coverly in Tom Stoppard's "Arcadia". Costume Design by Sara Ice.

Performed in Pacific Conservatory Theatre's Marian Theater, 448 seats.

Partial Build: Patterning of striped under-bodice structure, draping of pleats and front cowel, and stitching.

The Morning Dew Fairy in Engelbert Humperdinck's Hänsel und Gretel. Opera was double cast. Costume Design by Maile Speetjens.

The Morning Dew Fairy in Engelbert Humperdinck's Hänsel und Gretel. Costume Design by Maile Speetjens.

Performed in Colorado State University's Griffin Concert Hall, 550 seats.

Alteration: Suit coat taken in along center back, 3rd button & button hole added for period accuracy. (set in 1903), button to snap for quick change, cuff extension via bias tape due to lining not being long enough.

Fredrik Egerman in Stephen Sondheim's "A Little Night Music". Musical was double cast, both jackets saw the 3rd button alteration. Costume Design by Maile Speetjens.