Costume Design Portfolio Highlights
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The Night Witches
Costume Designer
As a lead costume designer for the University of Memphis's production of The Night Witches in 2026, I designed stylized Soviet WWII military costumes, directed by Kaylea Jo Egnor. I purchased pieces from military surplus stores, created / added to preexisting costume pieces, and designed embroidery on the costumes. The overall costume design included heavy Soviet cultural and mythological influence and the concept of memorial monuments.
Memory House
Costume Designer
As a lead costume designer for the University of Memphis's production of Memory House, I designed dance costumes for the Playback Memory Piece, directed by Wayne Smith. I pulled pieces from stock, bought costume pieces, and created / added to preexisting costume pieces. The concept included the idea of oracles and storytelling, as well as the overarching design being ghostly futuristic.
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Director: Wayne Smith
Sound Designer: Anthony Pellecchia
Lighting Designer: Chris Hanian
Photography: Mark Adams
Director: Kaylea Jo Egnor
Scenic Designer: Julia Kowalski
Lighting Designer: Anthony Pellecchia
Sound Designer: Rowan Sullivan
Photography: Sean Moore
Emerge 360 - Ala'ala
Costume Designer
As a lead costume designer for the University of Memphis's production of Emerge 360 in 2024, I designed dance costumes for the Ala'ala, choreographed by Elyzah Gasmen. I pulled pieces from stock, created / added to preexisting costume pieces, and installed fairy lights into the hems of the performers' skirts. The overall costume design included heavy Filipino cultural influence and the concept of dancing fireflies.
The Mousetrap
Asst. Costume Designer
As assistant costume designer on The University of Memphis's production of The Mousetrap, I helped with various forms of tracking paperwork for the production, as well as helped with physical setup and the creation / implementation of physical costume pieces.
Choreographer: Elyzah Gasmen
Sound Designer: Rowan Sullivan
Lighting Designer: Chris Hanian
Photography: Ziggy Mack
Director: Tyler Morris
Costume Designer: Sphinx Curtis
Scenic Designer: David Schanck
Lighting Designer: Anthony Pellecchia
Sound Designer: Bruce Moran
Photography: Mark Adams
Sweeney Todd
Theoretical Costume Design
As a theoretical costume design, my concept of Sweeney Todd: The Demon Barber of Fleet Street includes an in-depth exploration of true horror and what horrifies an audience, the history of the Sweeney Todd story and his character, as well as character-driven subtle indications toward anatomy: a bone-like cage implication for Johanna, hints of blood and a circulatory system through shape for Sweeney Todd, heart structures for Mrs. Lovett, and other indications pointing toward anatomy. This highlights Victorian fascination of macabre medicinal practices, as well as highlighting horror in humanity.
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Shakespeare in Love
Theoretical Costume Design
As a theoretical costume design, my concept of Shakespeare in Love took inspiration from the myth of Pyramus and Thisbe, which inspired Romeo and Juliet. In the legend, the two forbidden lovers commit suicide under a mulberry tree. Their love and sacrifice for one another is what ultimately turns the mulberries purple. For my Shakespeare in Love design, Viola and Will are similarly blocked separately in blues and reds, which converge together into the mulberry purple at the end.
For the highborn individuals such as Wessex and Queen Elizabeth I, they’ll be adorned in gold, with Wessex in predominantly black with gold accents and thorns, and the Queen in predominantly gold with white accents and marble.
For the working class characters, they will exist mostly in nature-themed colors and textures with pops of blue, red, and purple here and there as signifiers to what their role is within the world.
