My journey into Victorian dressmaking began unexpectedly in 2015 with the purchase of a 19th-century French dressmaker's dummy from a New Zealand based antiques dealer specializing in French pieces. The dealer believed it had originated from a dressmaker's shop in Burgundy, France—a theory supported by its well-worn condition and the countless pin marks scattered across its original fabric cover. What started as a simple acquisition soon became the foundation for a deep dive

What happens when you attempt to reconstruct the identity of a man who died 270 years ago using nothing but objects? In 1967, set...

I've just returned from presenting at Singapore's inaugural ADPRex conference, the first of its kind—where I was thrilled to share the...

Just returned from presenting at FCVC2025 in beautiful Rovinj, Croatia, where I had the privilege of exploring how costume design can...

This week, I had the privilege of presenting at the "Deviant Women: Women in Visual Arts Symposium" hosted by the Women in Visual Arts...

Last week, I had the privilege of presenting at the London Conference in Critical Thought at Birkbeck University as part of the "Shared...

Act 2 of the Original Production, 1877, Petipa Society When "Authentic" 19th Century Ballet Isn't Actually Authentic Last week, I had the...

When audiences watch the Royal Ballet's  The Nutcracker , few realize they're experiencing the vision of Julia Trevelyan Oman—a designer...

My interest in costume history began during my BA, a course focused almost entirely on practical costume making. While most projects...