Alterations do not photograph well from across a room. The work is in the seam allowance, the pressing, the way a layer sits on the layer beneath it — so these are close. Where a piece was a client’s, it is shown with their permission and without their name.
Construction
A pieced suede jacket, mid-construction. Chevron-cut panels, every seam finished by hand.
Seam allowances pressed flat against an open-weave backing. This is the part nobody sees and everybody feels.
Panels pinned into a diagonal seam on the workroom floor, before the machine goes anywhere near them.
Tulle
Layered tulle in black and grey. The same construction as a wedding skirt, and the same reason a crin hem takes as long as it does.
A gathered tulle skirt in graduated greys, translucent where the layers overlap.
Radiating pleats edged in gold thread, fanning from a single point.
Embellishment
Hand embroidery in gold and red thread, the border edged with stitched cowrie shells.
Dense gold paisley on deep red silk, meeting a block-printed panel.
A beaded band on indigo and crimson silk, finished with shells. Beading rework is one of the things boutiques send out.
Bridal before-and-after photographs are added as clients agree to them. If you would like to see something specific — a bustle, a bodice re-cut, a particular fabric — ask, and I will send what I can.
