In 2024, the Nutcracker soldier hats were reconstructed to resolve long-term durability issues caused by dented thermoplastic bases and chipping painted details. I rebuilt the hats using leather and machine-cut vinyl appliqués, eliminating structural damage and ongoing maintenance. These updated materials preserved the original “toy soldier” aesthetic while significantly improving longevity.

Each season, I refresh the Mouse King head by touching up paint worn and faded from 40+ performances. To improve durability and safety, I replaced the original feather-core whiskers—which frequently broke during the physical combat scenes—with shaped PETG 3D-printing filament. This material provides strength with flexible give, reducing breakage while protecting performers from injury.

I was asked by the Wardrobe Manager to develop a new headgear system to better secure the mouse heads on dancers. The previous hand-crank helmets with elastic chin straps accommodated multiple sizes but gradually lost their ability to hold a secure fit. I designed a replacement system that maintains adjustability while improving comfort, stability, and long-term reliability.

This image shows the interior of the mouse heads after the original headgear was removed. The built-in wooden struts within the Veraform structure provided stable anchor points, which I used to securely attach the new headgear system.

This is the newly constructed headgear fitted on a mannequin head. Using a sourced plastic helmet base, I added strategically placed elastic loops and O-rings, along with a padded, football-style chin strap secured with elastic and Velcro. This fully adjustable system improves fit and comfort while providing added stability to keep the heads securely in place during performance.

To enhance performer comfort, I blocked thick wool onto a form and adhered it to the headgear interior, creating a cushioned lining that added some friction for the dancer.

I reconstructed the mouse tails after years of stretching created safety concerns and trip hazards. By replacing compressed foam discs with wooden beads near the tip for natural movement, adding denser foam “vertebrae” in the midsection for structure, and installing a short plastic dowel at the base for stability, I restored proper length, balance, and durability while preserving fluid motion.

This image shows the rebuilt mouse tail structure wrapped in batting to create a smooth transition between the articulated interior and the outer “skin,” ensuring a clean silhouette. Behind this, you can see the re-assembled tails.

The mouse gloves were originally unpainted and did not match the tights or tail, so I airbrushed shading and definition to create visual continuity and enhance their dimensionality onstage.

Custom commission for an actor.

Mr. Hallows was designed as the flagship “Icon” character representing the company nationwide. I designed and built the character around the concept of the “Gatekeeper of 13th Floor,” blending Victorian-inspired elements with a weathered, time-worn aesthetic to suggest a figure dragged through history to guard the attractions.

This close-up highlights the surface detailing of Mr. Hallows’ costume. I created a custom patchwork vinyl “fabric” prior to assembly, applying this treatment to both the tailcoat and top hat to achieve a cohesive, textured finish.

Concept sketch of jacket

This re-imagined Nosferatu look was created for the vampire-themed Valentine’s Day Love Bites event. I designed and built the full look from the neck down, producing 14 units that were shipped nationwide for use as the event’s interactive “Icon” character. The costume was also featured in the company’s social media advertising campaign.

The 2017 Swarm attraction was themed around a bug infestation. Drawing inspiration from the existing haunted house environments, I developed characters specific to each space—this set reflecting a deteriorating hospital setting to support the narrative and atmosphere.

This character depicts a humanoid praying mantis infected at the hospital’s “ground zero.” Designed as a former patient seeking treatment, the creature is bloodied and bandaged, with insect mandibles tearing through his face and arms transformed into mantis claws. I fabricated these features using latex over a lightweight, structured base for durability and performance.

Close-up of mandible half-mask.

This image captures the Mantis being attacked by a nurse who initially treated his illness and was subsequently infected herself. I dyed and distressed her uniform to reflect the effects of the deteriorating hospital environment and her gradual transformation, reinforcing the narrative of contagion and decay.

Nicklesmart the Clown was inspired by the popularity of the IT films released at the time. I designed, built, and distressed the full costume with durability, mobility, and audience interaction in mind, ensuring it could withstand high physicality in performance.

Concept sketch

The Scarecrow was created specifically for the company’s rural, outdoor locations. Inspired by traditional scarecrows and the D&D Aarakocra race, I designed and built the costume using rustic materials such as aged leather and burlap to enhance its weathered, agrarian aesthetic.

This spider character was created for the Swarm theme. I designed a custom spider leg harness to create the illusion of spider limbs tearing through her back, along with elongated hands to emphasize her spindly, unsettling movement. Both elements were fabricated using latex over lightweight base structures for durability and performer mobility.

This nurse costume was originally designed for a burlesque performance featuring progressive costume reveals. I constructed the uniform with removable sleeves, hem, and bodice elements to expose bloodied, bandaged undergarments, culminating in the dramatic unraveling of facial bandages to reveal a blistered, diseased appearance.

These looks depict King Lear and Gloucester in their torn, weathered states. I constructed the crown and completed all aging and distressing treatments to support their physical and emotional deterioration.

Twig & weed crown, built over a wire base.

This image shows Lear before his daughters’ betrayal, when he remains polished and grounded in reality. I constructed the crown to reflect his authority, stability, and intact sense of self at this stage of the story.

This close-up highlights the crown, constructed from Fosshape and embellished with metallic trim, pearls, and large gems.

This crown was constructed from found materials, including a chainmail belt and metal studs, with pointed elements formed from Wonderflex.

This one-armed amputee illusion suit was built on a nude Spanx bodysuit base. I integrated an internal arm sling and layered batting to fill space.

Once the fit was correct, I continued to add layers of batting to round out the shape, creating a ‘barrel chested’ silhouette. Once the shape was approved, I added a layer of lycra to contain and secure the padding and shape.

A shirt over the final bodysuit.

A blazer made to look more “period” by draping contrast fabrics and trims over the existing cut.

For the Nutcracker Coffee dancers, I replaced deteriorating garments and custom-dyed new yardage to match the original fabrics. Using a cold-process technique, I laid out and dampened the fabric before hand-applying multiple colors to encourage natural blending. Each eight-foot section was dried individually, completing twelve yards of consistently flowing material.

2012

2012

Character rendering by Namco

2013

2013

2013

Character concept art by Riot Games

2010

Character concept art by Ogure & Namco

2009

Character concept art by Square Enix

2008

2008

Designed by Mana

2010

Combined and transformed into motorcycle form

Character concept art by Square Enix

Character concept art by Square Enix

Character concept art by Namco & Project Soul

This witch hat was designed and constructed with a fabric and millinery wire base, layered with latex-coated burlap scraps. The combination of materials creates a lightweight yet durable structure with a richly textured, organic finish. Pig skull added for both aesthetics and personal connection to the client. 2020.

2020.

This deer antler headpiece was built on a buckram and wire base covered in fabric, with real antlers securely mounted using installed bolts and hardware. A gold detailed raccoon skull was added for visual impact and personal significance to the wearer. 2016.

2016.

King Lear- Illinois Shakespeare Festival 2022

King Lear- Illinois Shakespeare Festival 2022

King Lear- Illinois Shakespeare Festival, 2022

King Lear- Illinois Shakespeare Festival, 2022

Inspired by A Chorus Line finale hats. Fabric covering buckram & wire base. 2013.

Pattern pieces

These rhinoceros headpieces were both designed and constructed by me using heavy cardstock that was scored and folded into form. The surfaces were painted to resemble metal, with exposed wire elements added to support the conceptual design.

2019

Wool blocked & wire structured. 2020.

2020

Process. 2020.

Technical drawing. 2020.

2012.

This Witch costume was designed and built to accommodate an onstage quick change. I constructed the dress as a single integrated piece, allowing the actor to remove it rapidly with a simple twirl, functioning like a jacket. 2023.

The costume worn beneath the quick change dress.

Draping & patterning process.

Construction progress.

An X-Men inspired coat, constructed of green satin with dark green glass beaded lace overlay.

High-low silk gown with lace overlay bodice & ombre dyed hem.