Fueled by a establishing a community of collaborative energy, innovative solutions, and emotional awareness, my practice centers character analysis and research of lived experience to craft narrative-driven design.

Figuring out exactly where to pinpoint the start of my designing is practically impossible, yet I am certain it falls somewhere between crafting novelty printed cotton wizard robes for my beanie babies and spending hours coordinating outfits with Barbie fashion software on a now-ancient IBM computer. My mom would take us out on Saturdays to scour racks at the thrift stores in the fancier suburbs of Raleigh, and her ability to immediately elevate a found object lives vividly in my memory and still informs my process. My love of theatre wasn’t instant–an accident rather–a need to fill a college freshman’s fall schedule. I intended to study fashion design but found myself in a window-lined costume shop elasticizing the waist of a white eyelet skirt for “Elizabeth, Almost by Chance a Woman,” being designed by my Intro to Theatre professor. I’ve only worked in two costume shops with windows since the one on the second floor of Jones Auditorium but have spent countless hours in basement work rooms, costume stock, stores, rehearsal halls, drafting labs, and cramped design studios. With fifteen years of theatrical adventures shared with artists, makers, and writers, my practice has evolved to center character and narrative with the pursuit of establishing creative community through embracive inclusion of varying collaborative energies and lived experiences.

My creative journeys include costume design and technology for theatre, dance, and opera; with Atlanta being my home base, recent work includes productions with Terminus Modern Ballet Theatre, the Alliance Theatre, the Atlanta Opera, Actor’s Express, Theatre Emory, and Kennesaw State University. I pursue my freelance design career alongside a successful film career in aging/dyeing for costumes.