A 60s inspired shift dress made using scraps from Melyn Tregwynt woollen mill for the pockets and collar alongside two shades of linen screen printed with a custom design.

An Alice in Wonderland inspired baby doll dress, adorned with hand made pom-poms and tulle overlays for the sleeves.

Still life works created using mostly charcoal and ink on top of a collage of recycled materials.

An Edwardian shirtwaist and skirt, featuring eighty-eight hand covered buttons and button loop trim for closures at the skirt side seam, cuffs and back of the shirtwaist. 

Fully boned 18th Century stays, made using layers of coutil, cotton and medium weight interfacing. Each pattern piece was cut out and marked up with boning channels, these were then stitched on top of to leave a pocket between the layers into which synthetic whalebone was inserted. A heavy chevron bias binding was used to finish the edges and metal eyelets were hammered into place at the shoulders and centre back seam to provide lasting stability. 

An 18th century linen chemise made to pair with the stays featured above. The chemise was sewn with French seams for a clean finish. Cuffs and neckline feature a channel into which ribbon can be inserted, so that they can be tightened once the garment is on.

A fully boned and pleated 18th century bodice and skirt set made using Harris tweed, worn atop the chemise and stays. The bodice lining is also boned, strips of fabric were sewn onto the lining to create channels before the whalebone was inserted and tacked down to prevent rotation. The eyelets at the back of the bodice are hand-sewn rather than hammered on for a more period-accurate aesthetic. The maroon embroidery thread used to sew the eyelets blends well with the fabric, as apposed to a metal ring.

Some examples of costume design, including my initial design for the 18th century bodice and skirt which was tweaked slightly in the sleeves in the final product. All designs were traditionally drawn before being scanned and worked on top of using Photoshop to digitally colour and overlay fabric choices to test options before purchasing materials.

A few pictures taken during the process of making chainmail, or 'maille' for a renaissance inspired project. Featured above are the rough steps to create European 4-in-1 maille, I quite enjoyed this, as an involved and repetitive process I found it quite therapeutic. 

Some close ups of my work further along in the process, after having linked a few rows together. Each row is placed down on a surface facing the same direction before each pair of rings at the bottom of a row is connected to a pair of rings at the top of another row. To join each row together is almost akin to hand-sewing or crochet, only with a more robust material. I also aimed to make a maille headpiece or 'coif' and skirt panel to sit underneath a chest plate I was working on alongside the maille. 

The beginnings of creating a maille coif. The hardest part of the process I'd say was figuring out a way to overlap the straight edges of each triangle to create the soft curve of a crown. Once I had done this, however, the next step was to continue weaving new links on in a circular motion and to keep trying the coif on to test the fit and length before leaving gaps for my face to fit in.

The finished maille coif. It ended up taking over 8,000 rings to make along with many hours of work, but I am very satisfied with the final product.