I designed this ensemble to play with pattern placement and to juxtapose the softness of the florals/pastels against the boldness of the faux leather and the definition of my body. .

The vest features a very unusual closure. It closes left over right, like most menswear, but the shawl collar crosses right over left. I intentionally eliminated buttons because I wanted it to be a puzzle to look at. I took care to cut the collar to mirror with the sprays of flowers terminating at the tie-shaped points.  The floral pattern seems to fall into the pants, which then go solid white before concentrating the pattern again at the hem. The inseam of the pants has a wide faux leather band, and the back hip pockets have lovely details and pocket flaps.  

This ensemble was a bit of a bold departure for me because of just HOW asymmetric it is. the crop Blazer is symmetric only in the lapel, the front is intended to be French-tucked.  The trousers feature a fitted side and a side that is nearly a full circle.

The ensemble has the "heavy side" and the lighter, more exposed side. The sleeved side of the blazer is on the same side as the circular palazzo leg, while the more exposed arm is on the side of the fitted leg. I love a wide statement waistband, and the asymmetric closure with the two buttons seemed more correct than a traditional centered closure.. 

I designed and built this look to wear to Trinity Rep's opening night of "La Cage aux Folles." I leaned (literally) into the concept of the musical's inspiration from the film, "The Birdcage." I ALSO built a fabulous look for my love, Taavon, who directed and choreographed the production.

The bodice has a flared extension over the hip to accentuate the cinched waist. The external bone casings of the bodice are carried through onto the skirt to create the illusion of the literal bars of the cage. The skirt ends in a train full of godets to look like a pile of feathers. The faux leather collar is shaped like wings and hasa feather pattern of stitching as added detail.  

This frock was a take on a 50's woman's silhouette.  The skirt shape and the collar, particularly, are heavily influenced by the period, but the cut-out shape of the skirt and the triangular cut-outs in the collar are choices made to accentuate the pattern of the fabric. Each panel of the skirt is pattern matched, and the collar is cleverly pieced to maintain the triangular border around the collar.

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This particular neckline was chosen, possibly, to show off my nerdy back tattoo. 

This ensemble was made to attend the opening night of a play that featured a strong 70's influence. I decided to use asymmetry to modernize the silhouette while still paying clear homage to the decade influence.

The blazer is worn over a corset to achieve the silhouette. The angled line of the pocket placement is parallel to the line of the blue diamond yoke across the chest. The sleeves are the only element of the jacket that are symmetrical. The jeans feature a wide external facing on the cuff to tie them to the jacket.  

This ensemble was designed for the opening night of The Good John Proctor. I wanted something rustic, masculine, and a bit medieval as a very loose nod to the aesthetic of the show.  

The Corset is reversible and has no busk. The "vest" is a modified dress shirt pattern I had for myself. I designed the cutouts and specific fabric inset shape to look like a tree and tree branches, especially where the single grommets are laced together front and back. I left the armscye edge raw to keep it rustic.  

This ensemble features three elements: an asymmetric corset, a crop bolero jacket, and chaps.

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The corset has a CF busk hidden under the asymmetric false button closure, the bolero jacket is grommeted along the back princess seam for adjustable fit and detail. The chaps lace down the outseam for adjustability over jeans worn beneath. I created this look for Trinity Rep's opening of "Sweeney Todd."

This ensemble is a triumph of pattern matching and melding corsetry with traditional tailoring techniques.

The blazer has no visible bone channels on the outside and is instead s fully corseted in the lining. It laces closed at Center Front- there is no busk and no opening in the back. The lacing panel is hidden beneath the buttoned front, and the fronts are still fully canvased. It produces a waist suppression of 4.5 inches, creating a 16" difference between chest and waist. 

The Double-breasted vest is pattern matched across the center front, and is fitted via a shaped dart in the front and highly shaped Center Back seam.

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The high-waisted trousers feature pattern-matched patch pockets shaped like paisley motifs. To help feature the pattern necessarily being broken down the sideseam, I used black satin flat piping to accentuate the length of the outseam and further tie the pants to the vest. 

I created this ensemble to wear to the opening of Trinity Rep' production of "The Inheritance." The high-waisted trousers are a call to a pair I built for the show.

the crop top features the same style lines as a coat we built for the character Adam in the show. 

I created this look to wear to Trinity Rep's opening of "Gem of the Ocean." These pants were patterned and built to mimic the cut and silhouette of a walking skirt from the late 1800's to early 1900's. 

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The vest plaid is cut to line up with the trousers and has a silver linen lapel bound in black linen.

This blazer happened because I was feeling nostalgic about the Watteau I had made years prior out of the same fabric. I was sitting on some leftover yardage, and decided to build myself this double-vented, peaked lapel blazer with mint suede lapels.

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As with most of my endeavors, it is a labor of love in pattern matching, and the vents in the back allowed me to produce a more nipped-in fit than what is standard with most blazers I can find for myself commercially.