I love history and being creative. When I can, I join my family and friends to teach about the ways of life in viking, and medieval cultures.
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These are a few select pieces from my portfolio. Each was made by me with a specific era and "character" role in mind.
Full cartridge pleated salmon pink silk dupioni skirt and embroidered cotton underskirt in a green and pink repeating floral motif that resembles patterns of the 16th century. Lined in green cotton. Sleeves are fully detachable. Cotton chemise compliments the look, nodding toward the blackwork garments common among the wealthy during the era. The attifet securely pinned on her head is elaborately decorated with trim and beadwork to match the style of the gown, complete with a white veil which was also common during the era. Created garments included but not photographed include child-size bum roll and child-size hoop skirt.
A lightweight child’s gown with knife pleating on the waist made of periwinkle silk dupioni, complemented by a polyester chartreuse damask underskirt. I included a sheer cotton chemise embroidered in a white floral pattern to keep the actor cool. An attifet is pinned to her braids, topped with a cluster of feathers.
The outer dress is russet orange linen fabric, lined in brown (for reversibility). Reversible sleeves are fully detachable with lacing at the shoulders. The shift is 100% cotton, as well as the apron and the winged coif tied around her head.
The outer sleeveless dress is a very lightweight saffron yellow linen, laced partway up the front. Beneath is a simple common shift of white cotton. Finishing the look is a smocked linen apron and soft leather hand-made shoes.
This apron dress, sewn of russet orange woolen twill, has slits on the side and basic straps sewn in. I added a little bit of embroidery for flair. Beneath is a basic unbleached linen serk, which is thought to have served as the base for all women’s wardrobe of the era. I completed this look with a part pagan sun-cross and part Christian cross pendant (maker unknown) which is 100% accurate to the Viking era.
The wool and linen fabrics of this garment were hand dyed by me and 100% hand sewn. After pleating, the top was finished with a wool tablet woven trim imported from Poland. The finishing touches of bronze tortoise brooches and glass and amber beads were added to complete the character.
Made primarily of hand-dyed linen, this garment is 100% hand sewn and hand distressed with a permanent airbrush application. The patches are also individually hand dyed and a mix of linen and wool pieces of scrap fabrics. Both the rope belt and the wooden cross necklace were also hand crafted and distressed to match. I made the shoes (called pampooties) based on extant remnants of shoes from the region and era. The tunic and green wool pants of the viking husband in the group photo of this selection were also created by me.
Elements created by me include the wool hood, the tunic, pants, hair and makeup. All clothing elements are 100% hand sewn, and the pants hand dyed by me.
Two linen serks layered on each other for warmth are hand dyed and hand stitched. The belt I wove using the tablet weaving method. The alternate belt is a basic rope braid belt. Her shoes are handcrafted by me and based off of extant finds of shoes from the Viking era.
A lavender pleated apron dress is pinned together in the front over a gray serk trimmed with tablet weaving. All fabric is hand dyed, hand sewn and the trim is hand woven by me. For more active moments, such as hiking through the woods, she replaces the fancier apron dress and accessories for a leather bag and woolen hood for warmth.
I layered two serks in historically accurate colors for warmth and completed the outfit with a series of accessories that a traveling Viking woman might need, including valuable beads for trade. I also did the hair based off of a burial find with two rope braids down the back.
For all intents and purposes, this is men’s garb, but who is to say a shield maiden didn’t wear it, too? A practical wool tunic with contrasting trim around the neck and wrists is layered over a white linen tunic. Hand-dyed linen thorsberg trousers in sage green are held tight against the calves with gray wool winingas and leather turn shoes. A seax, Celtic embellished belt, tablet woven belt and glass beads complete this look.
Outer dress is a 15th century commoner’s dress with half lacing and the skirt hoisted up into a leather belt. The shirt is an 18th century linen men’s shirt. The look is completed with a worn cotton head scarf, an 18th century tricorn hat I crafted from remnants of leather and grungy scar makeup applied myself.
1These 15th century Irish Gallowglass dresses were inspired by existing woodcuts of the culture. All three are sewn from linen for both the outer and underdresses, with the outer ones lined in cotton for a pop of color. The chemises beneath are of white unbleached cotton.
Gold fabric heavily embroidered with red and green floral motifs are the showcase for this dress in the bodice and the cartridge pleated overskirt. The bodice features side lacing rather than the more common back lacing. The detachable underskirt can be swapped for one of 3 styles for a mix and match wardrobe. The sleeves are also detachable and feature the iconic puffed shoulder seen in many portraits from the era, as well as a spiral sleeve for the lower half. To finish the look, a box hat covers the hair and is further elaborated with plumes of ostrich feathers. Garments not seen but included: bum roll, hoop skirt, corset. Although not accurate to history, grommets are included for durability and ease of wear.
The fitted cotehardie is sewn of teal hand-dyed tropical weight wool, and hand finished for a more historic look, including dozens of hand stitched buttonholes. The detachable sleeves are also of wool, but lined with linen for extra warmth and fastened on with a row of brass buttons. The surcoat is of a thicker wool twill, trimmed with rabbit fur and styled after the common fashion of the era. On the head is a 4 yard linen great veil, fully hand sewn and carefully wrapped and pinned on the head over braids, also popular during the era. A crimson red wool liripipe wraps around the head and neck for added warmth.
A simple burgundy wool-like fabric is the framework for this dress, elegantly framing metallic gold and red brocade and trim work in the underskirt. A full peplum wraps the waist of the bodice, which sits over a cartridge pleated skirt, bum roll, and hoop skirt to hold the weight. Detachable sleeves and ruff can be added for extra 16th century fashion.
The luster of this teal silk perfectly frames the metallic brocade of the underskirt. Details like the black windowpane lace and bronze trims really make this gown stand out. I made the french hood and black veil to match the dress perfectly, earning this entire outfit the nickname of “The Spanish Queen Dress” for its resemblance to Queen Catherine of Aragon.
I made this pair of dresses completely identical and reversible so I could have 4 different looks with just 2 dresses. They’re sewn of linen and lace halfway down, with fully detachable and reversible sleeves. I finished this look with a simple apron, a winged coif tied around my hair and a linen liripipe for warmth.
(Pictured on Right)
The fitted jacket is sewn of brown wool and pinned closed which was fashionable during the era. The skirt is of a thick cotton stripe, and the apron of basic cotton. A teal fichu is tucked around the shoulders for modesty. I created the sun hat to complement the outfit and lined it with olive green silk.
A brown linen jacket with a modesty panel and front lacing, a teal cotton skirt and a white apron, chemise and cap complete this simple and precious look. For added modesty, the model wears a white cotton fichu tucked around her shoulders and into the top of her dress.
These projects were made by request.
Using the portrait of Sir Walter Raleigh as inspiration, with creative liberty to match the customer’s requests, I created every aspect of this look. Fabric is a faux burned velvet brocade (brown and black), a velvet brocade on denim (black), and bronze tufted satin. The mantle is made of red velvet, faux fur and leather. The ruff and shirt are of white cotton and the bonnet in the black brocade denim with plumes of ostrich, peacock and pheasant feathers. Each piece is elaborately decorated with various trims in burgundy and gold to give it a royal touch. Individual pieces of this look include: shirt, neck ruff, doublet, detachable sleeves, upper hose, mantle, Tudor bonnet, and cap plume.
These partlets are meant to be worn beneath a gown instead of a fuller shift. The bottom front edges can be drawn back on the sides while the pleated or ruffed neck is tied closed to create a triangular opening, popular during some parts of the Renaissance. One of these partlets features sleeves to show off the silver lined sheer cotton and elegant lacing on the sleeves. The other partlet was requested to be made with no sleeves for the sake of staying cool during performances.
A black brocade is the focus of this garment, found in the bodice, two sets of detachable sleeves (which can be worn layered together or individually) and cartridge pleated overskirt. The underskirt is sewn of black velvet. The sleeves are of the traditional Tudor style, with the outer sleeves ending in bell shape and velvet fabric and the under sleeves adding texture with strips of silver-lined brocade coming to a button closure at the wrist. The chemise beneath is of sheer cotton and gathered into ruffs at the wrist and the neck, which can be worn open or closed. To complement this garment, I also created a coin purse in the same fabric to be worn on the belt. (Please note I did not create the head piece nor the jewelry for this garment.)
Sewn from olive stretch velvet with added lacing for a custom fit. White cotton gauze undersleeves are attached.
Fabric is Scottish tartan wool and lining is black cotton. Zipper in the back. Hand sewn finishing. I used the traditional kilt making method of cut pleats to reduce the bulk in this garment.
These pieces were made by me for display, or use in shows.
Completely hand crafted and patterned by me, using references from extant pieces. The toddler shoes tie closed with a strip of leather, while the child size boots have an antler tip toggle to tie off onto.
These are various examples of embroidery that show up in my work from time to time.
A few examples of tablet woven belts and trim I’ve done for Viking kits.
Carved from pine and wrapped in rawhide. Complete with leather handle and cat approved.
Leather work and 100% hand sewn. Distressed with a mix of beeswax and charcoal.
Each one is custom designed with elegant silk flowers, pearls and ribbon, and lined with silk dupioni. Beneath the hats, the model wears a fully hand-sewn white cotton country coif.
100% hand stitched and based off of a historic pattern.
Based on paintings from the era, I completely hand stitched and hand embroidered this garment with a pattern used at the time. Complete with pearl buttons on the neck.
A fully custom fit and complete with wooden busk to stiffen the front. Lacing on the back. Although not accurate to history, grommets and thicker polyester material were chosen for this project to provide durability.
Made of various materials. Each one includes hidden loops to easily pin to the hair.
I cooked these dishes for display at historical events.
Foam carved rock wall with wooden beams. Wall measures 12’ x 8’ and can be refigured to be a flat backdrop, L shape or U shape. It can also be fully broken down for easy storage.
I was responsible for the costuming, hair, makeup and weapons for a cast of 9 (7 pictured here) for a short film with a medieval fantasy theme. Some elements I made and some I borrowed.