Clarence Brown Theatre
Costume Design by Kaelyn Marie
Clarence Brown Theatre
Designed by Lauren Roark
Clarence Brown Theatre
Designed by Lauren Roark
Clarence Brown Theatre
Costume Design by Marianne Custer
Clarence Brown Theatre
Costume Design by Bill Black
Clarence Brown Theatre
Costume Design by Bill Black
Clarence Brown Theatre
Costume Design by Stephen Brown
Clarence Brown Theatre
Costume Design by Marianne Custer
Clarence Brown Theatre
Costume Design by Marianne Custer
Clarence Brown Theatre
Costume Design by Marianne Custer
Clarence Brown Theatre
Costume Design by Eric Abele
Clarence Brown Theatre
Costume Design by Eric Abele
Clarence Brown Theatre
Costume Design by Erin Reed
Clarence Brown Theatre
Costume Design by Marianne Custer
Clarence Brown Theatre
Costume Design by Kyle Schellinger
Utah Shakespeare Festival
Designed by Bill Black
Clarence Brown Theatre
Costume Design by Kaelyn Marie
Clarence Brown Theatre
Costume Design by Lauren Roark
Clarence Brown Theatre
Costume Design by Alex Heder
Clarence Brown Theatre
Costume Design by Max Hromek
Dayton Opera
Costume Design by Katherine Rohe
Clarence Brown Theatre
Costume Design by Lauren Roark
Clarence Brown Theatre
Designed by Lauren Roark
Clarence Brown Theatre
Designed by Lauren Roark
Clarence Brown Theatre
Designed by Margo Birdwhistell
Clarence Brown Theatre
Designed by John Merritt
Clarence Brown Theatre
Designed by Lauren Roark
Clarence Brown Theatre
Designed by Margo Birdwhistell
Clarence Brown Theatre
Designed by Lauren Roark
Clarence Brown Theatre
Designed by Erin Reed
Clarence Brown Theatre
Designed by John Merritt
Clarence Brown Theatre
Costume Design by Bill Black
Clarence Brown Theatre
Costume Design by Erin Reed
Clarence Brown Theatre
Costume Design by Bill Black
Clarence Brown Theatre
Costume Design by Miwa Ishii
Clarence Brown Theatre
Costume Design by Bill Black
Clarence Brown Theatre
Designed by Poua Yang
Clarence Brown Theatre
Designed by Kathryn Rohe
Clarence Brown Theatre
Costume Design by Bill Black
Clarence Brown Theatre
Costume Design by Marianne Custer
Clarence Brown Theatre
Costume Design by Bill Black
Clarence Brown Theatre
Designed by Marianne Custer
Clarence Brown Theatre
Costume Design by Marianne Custer
Clarence Brown Theatre
Designed by Marianne Custer
Clarence Brown Theatre
Costume Design by Marianne Custer
Clarence Brown Theatre
Costume Design by Emily Strickland
Utah Shakespeare Festival
Costume Design by Bill Black
Utah Shakespeare Festival
Designed by Bill Black
Utah Shakespeare Festival
Costume Design by Bill Black
Utah Shakespeare Festival
Costume Design by Bill Black
Utah Shakespeare Festival
Designed by Bill Black
Utah Shakespeare Festival
Costume Design by Bill Black
Utah Shakespeare Festival
Designed by Bill Black
During the 2020 Covid-19 Pandemic, work halted and I undertook the challenge of developing period patterning skills in half-scale, including scaled corsetry and skirt supports.
Gown over half scale stays, Spanish farthingale, petticoat and forepart.
Half-scale stays, farthingale, and petticoat.
Sack-back gown (Robe a la Francaise) with compere front, worn over pocket hoops and petticoat.
Regency (Empire waist) dress over half scale bodied petticoat. Would be worn with lawn chemisette to fill neckline for day wear.
1830s morning dress with gigot sleeves and a pelerine collar, worn over corset and corded petticoat. Would be worn with a lawn chemisette or fichu to fill neckline for day wear.
Corded petticoat and mid 19th century corset. A chemise would be worn under the corset.
Hoop skirt graded down to half scale from Simplicity 9764 (The Fashion Historian by Martha McCain). A chemise would be worn under the corset.
Worn over hoopskirt, petticoat, and corset.
Bustle day dress worn over corset, cage bustle and tournure, and frill backed petticoat.
Mantle worn over 1887-9 day dress.
Day Dress with cuirasse bodice and low bustle skirt. Worn over cage bustle (without tournure pad) and ruffle back petticoat.
Detail photographs of 1874-7 day dress. Rushed front panel, 1/16” cording, pleated and rushed hem trim.
Small cage crinoline with bustle shaped back and attached flounce. Interior tapes hold the cage in the correct position.
Five gore petticoat over cage crinoline bustle. A small hip ruffle is worn under the petticoat to provide a more drastic hip-to-waist ratio.
Inspired by an extant ensemble at the Metropolitan Museum of Art. Worn over corset and late 1860s/early 1870s cage crinoline bustle.
Detail photograph of pleated trim and hand picked seams.
Inspired by a fashion drawing in Harpers Bazar from 1896, the skirt is worn over two petticoats, and the shirtwaist with jabot, waistcoat, and Louis Seize jacket are worn over a corset.
Skirt with interior ruffles mounted onto stiffened yoke, and fully lined and padded jacket.
Photograph shows fully lined interior of Bar Suit jacket with 18” ruler to indicate scale. Front hips are padded to form swayed silhouette.
Boned stays with quilted bust petals and hip gussets. Back lacing eyelet holes worked by hand.
Based on a design by Margo Birdwhistle for The House That Will Not Stand, this dress with gigot sleeves and a pleated front bodice, is worn over early 18th century stays, a corded petticoat, and a lace edged smoothing petticoat.
“Sheath” style evening dress of beaded and embroidered net, with pleated belt and structured hip bows.
Gown worn over self-fabric petticoat, stays, and pocket hoops. Lace fichu woven through faux strapped stomacher.
