Design Process,   Fitting Process,   Design Sources,   Understanding Colour

At the initial consultation I will take you through all the fabric and embellishment possibilities for your wedding gown or ballet costume. (Above: crushed velvets, silk dupions and silk taffeta and silk tulle). We might look through my many period costume and ballet reference books to establish exactly the look you wish to achieve. A rough sketch may be produced at this time - it will be refined later and sent to you to verify we are on the same wave-length. If journey-time is excessive for clients, I sometimes send out selected fabrics and specific colours prior to the first consultation, however I would never be able to send all possible fabric options which must amount in total to many thousands! It is also difficult to send out trimmings in advance - be prepared to delve into my hoards of ribbons and lace, silk flowers, beads and crystals when you actually visit.

I worked with a variety of theatrical and bridalwear designers prior to going totally freelance in 1998. (See below). At that stage my challenge was "design interpretation" - translating another person's two-dimensional sketch into three-dimensions, as opposed to following my own design ideas. This background serves me well when a bride says "Can you make a wedding dress from my own sketch?" I was delighted to work with Basia Zarzycka on a highly embellished 18th century style corset and appliquéd skirt. (Shown above).

"Cyrano de Bergerac" (above) for the Royal Shakespeare company in 1997 - a costume loosely based on 16th century dress, and cut quite authentically, but utilising very modern fabrics,including metallic shot organzas.

An extremely clear design for a tailored late nineteenth century jacket, waistcoat and skirt. "Little Eyolf" designed by Rob Howell: Royal Shakespeare Company 1996/97.

Ritva Westenius' spontaneous "Post-it-note" sketch for a corseted bridal gown: 1988.(Above).

A "Whore" in 18th century corset and panniers, designed by John Pascoe for the opera-ballet "Platée" 1987.

Gill Harris' highly informative "storyboard" of the proposed color scheme for her wedding; her own coloring and her "dream dress".

After a consultation it is sometimes still necessary to offer brides a variety of design shapes. Teresa opted for a stunning combination of eighteenth century style corset, cartridge pleated skirt and crushed velvet cloak all in toning shades of moss green and dark red.

Rob Jones' designs for Jane Lapotaire in "Henry VIII" were extremely legible and based on original source images of Katherine of Aragon (1996/7).

Several variations of the original Rossetti "Raffaella" design were offered for a bride to choose from.