SELECTED PROJECTS

Costume design and makeup for editorial photoshoot directed by Morgan Lee.

ROPES is an editorial narrative photoshoot interrogating womanhood under the patriarchy — the woman as cog, doll, mannequin, object, animal, test subject. Shot through a lens of high-glam magazine gloss , the series follows its subjects as they are handled, posed, dressed, and documented until they break.

As costume designer, I built a wardrobe that transformed femininity's ornaments into its restraints. I constructed jewelry from doll accessories and Barbie shoes, recontextualizing symbols of girlhood/childhood play as symbols of objectification and commodification. I designed and made a corset entirely from duct tape and repurposed handcuffs as bracelets, literalizing the shoot's undercurrent of ownership. On another model, I deliberately overused ribbon to the point of gross excess to create a visual link between ballerina ribbons (an ornament associated with femininity) and the physical binding and constraints of femininity and beauty. Giant, hand-painted paper doll accessories styled on another model pushed the "doll" concept into human scale.

Production Design, Set Design, Costume Styling, and Hair Styling for a short film directed by Myla Pitzer and Sam Thornton.

Set in a small midwestern town, A Fox in the Henhouse follows Russel, a small-town auctioneer chasing bigger dreams. He cons a sweet, chicken-statue-collecting old woman (Doris Doyle) out of her prized possessions to fund his shot at the big city. When she discovers the con, she retaliates in kind, filling his house with hay and his bed with feathers, before Russel's own reckoning at a snobbish city auction forces him to see what he's lost. The two eventually find their way back to reconciliation.

As production and set designer, I built a world caught deliberately out of time, lived-in, cluttered, and warm, anchored by an unmistakable central motif: chickens. The small town was grounded in wood, gingham, and burlap, with a warm, golden color palette that reinforced its domestic, handmade feel, from Doris's overflowing shelves of ceramic and folk-art hens to the sheriff's cramped, memorabilia-packed office. That warmth was deliberately abandoned for the big city auction, where velvet, blue, red, black, and white took over to create a colder, more polished and unwelcoming world, one Russel doesn't quite fit into. The chicken statues became a recurring thread throughout, collected, displayed, and eventually turned into instruments of the old woman's revenge and then into symbols of community, keeping the film's whimsy tied to a tactile, handmade world even as it pushes into satire.

Production design, costume, set, hair and makeup, and SFX design for a surrealist short film directed by Daniel Shapiro.

Protagonist Linden spends their days working in a library- insecure, unmoored, and quietly wrestling with who they are. When a mysterious book turns up on the same day they lose their job, a small errand to return it spirals into something stranger: an encounter with the alluring Cailee, a descent through increasingly surreal spaces, and visions of two moon-faced creatures that grow harder to ignore. The line between metaphor and reality finally gives way when Linden is pulled through a mirror into the creatures' world — and discovers that Cailee has been leading them there all along, wearing a mirror as a mask, offering comfort and security in exchange for Linden's earthly body.

As production designer, costume designer, set designer, hair and makeup/SFX artist, and prop designer, I built the film's visual world from the ground up — from Linden's clinically austere bedroom to the lived-in library where they work to Cailee's opulent, velvet-drenched lair, and finally into the cold, lunar dreamscape of the moon creatures. Costume and makeup design tracked that same arc, moving from Linden's muted, uncertain greyscale wardrobe to the ornately patterned costume of Cailee, the glittering makeup of the surrealist club dancers, and the textured masks and prosthetics of the moon creatures (designed and built by hand). mirror-mask and prosthetic moon-creature designs built and applied by hand. All visual elements in the film were designed and constructed to reinforce the story's shift from the mundane into the surreal.

Production design, costume design, set design, period research and styling, and hair and makeup design and styling for a short film directed by Ella Keker.

Set in 1968, Stoned Immaculate follows Julie, a young woman living under her overbearing mother's roof and working a soul-crushing office job, coping through a steady diet of lithium pills. At a bar, she meets Dawn, an enigmatic woman who offers her an escape to a commune and a happier life. Despite her hesitations, Julie gets drunk, and Dawn slips into the house and kills Julie's mother before the two drive off together. The commune is beautiful but unsettling, and during a baptism ritual where both women are told to confess their sins, Dawn claims responsibility for the murder. But as Julie is submerged underwater, she's hit with flashbacks revealing that she killed her mother herself, and that Dawn was never real at all, a hallucination born from the lithium.

As production designer, set designer, costume designer, and hair and makeup artist, I built the film's world through extensive period research grounded in 1968. Julie's home and the office were designed to feel stifling and outdated, full of period-accurate furniture, typewriters, rotary phones, and muted, institutional colors that reflect the monotony and control she lives under. The bar carried a warmer, dimmer intimacy where Julie and Dawn's connection could take root. The commune shifted the palette entirely into something naturalistic and sun-dappled on the surface, all flowing white fabric, flower crowns, and woodland light, while carrying an undercurrent of unease that builds as the film's true nature comes into focus. Costume and hair and makeup tracked Julie's psychological state throughout, moving from buttoned-up and controlled to loose and unraveling as the line between memory and hallucination breaks down.