This was my final project at Capilano, which I patterned and built under the guidance of Lace Embrace's Melanie Talkington. I flat-drafted the pattern myself, using a 1900s corset pattern as reference, and painted the wings with Dye-Na-Flow. The wings are removable, attached by lacing on the inside of the corset, and there's pockets hidden in the side seams!

Based off of an extant bustle, I made this to support the skirts of my 1875 gown. I used zipties for the boning, drilling holes with a Dremel to secure them to the fabric.

(Inspired by Mona May's design from the film Enchanted) I drafted the pattern based off of my bodice block. I wasn't able to make the dress as long as I wanted, since I used an actual thrifted curtain (just like the movie!) and I didn't have enough fabric, however I still really like the shorter length!

I made this skirt to have a neutral-coloured skirt option that was still a statement piece. The corset portion was flat-drafted from my bodice block, and the skirt was created with a lot of math that broke my brain a bit. The back closure is a mixture of lacing, shirring for stretch when the skirt was loosely laced, and a zipper.

I had a dress with really nice fabric that I wasn't wearing due to the fit (below), so I cut it in half. I finished the edge of the top half with a lettuce hem, resulting in a shirt, and turned the bottom skirt portion into a bustier. To make the bust cups, I used my bodice block, but made the seams more rounded to fit my bust better. I made sure to use nearly every piece of this material since I really like it, and didn't want to lose any image. I was also very careful about cutting in the right place, which resulted in the centaur in the print landing right at the center front, right under the actual centaur pendant.

This was an incredibly involved build, with tons of layers, side seam pockets, plus the inherent complexity of a corset being built into a dress. It was also very challenging pattern-wise, as I decided to draft my own corset pattern for the first time. Also, there was a lot of math involved in adding the square circle skirt pattern onto the corset pattern, as I needed to ensure the seams matched with each other perfectly to achieve the effect.

I made this dress to have something cute to wear while doing messy crafts, like painting or dyeing (hence the paint splotches print). In terms of the pattern, I manipulated my bodice block to move the bust 'darts' to the waist, but instead of sewing the dart, I gathered the excess material to the body by lacing around it.

This is a flowy, comfortable beach dress that also doubles as a swim cover-up, as it closes only in the torso. The back is shirred, for extra comfort (plus volume in the skirt and upper back). The bodice pattern came from a manipulation of my bodice block, and the sleeves and skirt were cut as essentially square circle skirts.

I realized I didn't have any simple, moveable, and black clothes for dressing Carrie: The Musical, so I designed and built a new outfit for the purpose (however I fell in love with the bloomers and wear them frequently). The tunic was essentially just adding onto my bodice block with minor bust manipulations and negative ease for stretch. I handsewed an appliqué trim lace to the tunic's seams. For the bloomers, I didn't make a pattern and just cut them freehand.

This was my gift to my mom for Christmas, inspired by her therapy practice's phoenix branding (fun fact: I designed and created her logo in 2020). She loves dance, so I wanted to make her a breathable and light blouse that she could spin elegantly in, with a less flowy lining for modesty. I made the pattern solely with her measurements (as I was in a different city), gave the fabric a slight ombré, and hand-embroidered the phoenix design on the front.

I made this to go with my Juliet costume, as well as to wear as an everyday garment. I used the same Aranea Black Corsets pattern (Sylvia) that I used for my prom dress corset.

I made this garment to have a comfortable hoodie that fit my style at the time. The pattern was fully flat-drafted.

I used a 1776 pattern from Norah Waugh's Corsets and Crinolines, with a few adjustments (front lacing instead of back lacing, shortened to fit my torso's measurements, less tabs, slightly different bone placement).

I wanted the garment to be more fairy-like, so I used strategic cutting, lace, and embroidery floss to elevate this tank top.

This dress involved multiple layers of lace, with all hems cut to follow the lace's pattern. I patterned the dress on my own, and I used an Aranea Black Corset pattern for the corset. See details of the tiara I built here.