Before a character speaks, we have already begun reading them. An opening at the throat, a coat worn like armour, a garment that seems almost too tender for the world it belongs to: costume can make a life perceptible in an instant. That is the kind of design I want to do.
From The Breath collection
I start with the person inside the story. What do they protect? What are they reaching for? How do they change? A script, scene, song or image gives us a place to begin. My love of science fiction makes me especially happy to enter worlds that have not yet existed, but every costume still has to belong to its character and the production around it.
A camera may discover the smallest seam. A theatre audience may recognise only the complete outline. And the performer needs to breathe, reach, turn and live in the clothes. I work between those distances, letting proportion, texture and construction support the story instead of interrupting it.
We can begin with visual ideas and sketches or develop chosen designs through patterns, toiles, fittings and making. I work in conversation with the director and the costume or production team. We agree who is responsible for each stage, allowing time for movement requirements, changes, duplicates and rehearsals where needed.
From my Stockholm studio, I take on selected costume projects and travel for short, agreed periods. The scope, development stages, production demands and fee are established together.
Send a script excerpt or treatment, character and visual references, the number of costumes, performance requirements, production location, rehearsal and delivery dates, and budget.
Explore the collections for my approach to silhouette, see selected styling and costume projects, or read Dressing an alternative future in the Diary.