I was first struck by the reference between death, Salome, and the moon. I wanted to explore the idea of this world and its inhabitants being a machine of this deathly moon. Throughout this design I've put hints of gears and cogs worn as adornment or jewelry on the characters. Salome in particular is interesting, I wanted to have a silvery blue reference to the moon in her top of the show dress. The pops of cherry refer to her virginity and the voyeurism centering on her. 2012

This is the Dance of the Seven Veils dress. The idea for the structue around the hips and bust is that it be covered in tiny white, ivory, and gold gears and cogs, a symbol of the moon's dominance over Salome. The seven veils are mostly white because this dance leads to the death of both Salome and Jokanaan, and white is a symbol of death in this play. 2012

This is a very bold interpretation of the character of Jokanaan. In the script he is a subject of fear and respect, Salome describes his hair like black snakes, skin like white plaster walls where vipers and scorpians have crawled, and black bottomless eyes. Unlike the other characters, Jokanaan doesn't have any artificial cogs or machinery on him, instead he has more organic elements, like wooden beads and rope belts. I wanted to highlight how terrifying everyone found this prophet to be. 2012

As the cruel and cold mother of Salome, Herodias is dressed in vain and decadent attire. I saw her as a character who desperately clings to her former sexuality, which is dwindling at her age, and is constantly coveting the attention being lavished on her beautiful daughter. Her garb is gaudy and overdone. 2012

Harod is a proud and lustful king. His obsession with omens and traditions made me think to put him in very formal and ornate clothing. He would be sure to wear the most royal colors and materials to remind the world of his status. 2012

The Young Syrian meant to look important but still a little innocent and foolish, he is the first to be completely hypnotized by Salome and the moon. All of the subjects of the royal family are wrapped in chains to represent their slavery. 2012

I saw Naaman as a bit of a reluctant executioner, bound to the ring that Harod gave him. I took that concept further and came up with the idea of the ring physically taking over Naaman's body, starting with the hand it's on and growing on the rest of his body, like he's losing his humanity bit by bit to this burden. 2012

The page is dress similarly to The Young Syrian, in the script there are hints of his love for him being a bit more than just platonic, so I wanted to show a deep connection between the two. 2012

This was a project for a costume history class. I had Goneril and Regan wearing the most saturated colors because of their rich deceitfulness in the play. 2011

This was a project for a costume history class. I wanted Cordelia to have a softer, more natural hip silhouette than the drum and spanish farthing-gales her sisters wear. 2011

This was a project for a costume history class. The proud King would have of course worn wealthy, opulent fabrics. 2011

This was a project for a costume history class. As the king's loyal and honest servant, Kent wears earthy, warm tones. 2011

This was a project for a costume history class. We were asked for this project to base our rendering style on our choice of fairy tale illustrations. I choose the artwork of Ivan Biliban. 2011

This was a project for a costume history class. We were asked for this project to base our rendering style on our choice of fairy tale illustrations. I choose the artwork of Ivan Biliban. 2011

This was a project for a costume history class. We were asked for this project to base our rendering style on our choice of fairy tale illustrations. I choose the artwork of Ivan Biliban. 2011

This was a project for a costume history class. We were asked for this project to base our rendering style on our choice of fairy tale illustrations. I choose the artwork of Ivan Biliban. 2011