Kat Anderson is a Dressmaker and Theater Costumer living in Madison, Wisconsin. She has specialties in traditional Garment construction and handicrafts, stitching (hand and machine), altering/fitting, knitting, crochet, tatting, quilting and patchwork, embroidery (crewelwork and petite point), basic bobbin lace, and basic corsetry. Kat is currently serving as the wardrobe supervisor for Madison Area Technical College.
Manon's first costuming love was 1560 – 1620, my second 1790 – 1810, but that changed when she discovered the Victorian Era. She has always had a passion for history and especially art, poetry, monarchies, emancipation and the female economy.
Manon started her business in 2005 selling costumes, and it grew into a combination of selling dress- and corset-making supplies. Nowadays she also do costume design, and has recently started renting out dresses for professional use. You can find Manon online at www.prudencemaepatterns.com.
Joanne finds the hidden structure in garments more interesting than the outer shell. Investigating the architecture required to create a desired silhouette, along with an obsessive attention to detail, naturally led to an interest in corsets. She is in the process of constructing all the Corsets in Norah Waugh’s book, Corsets and Crinolines, and is blogging about every step at Bridges on the Body.
Joanne had worked in the fashion industry for years as a stylist, but began sewing just five years ago after she won a grant to produce garments promoting a lecture by the curator of the Smithsonian Costume Collection. She has since earned a BFA from California Design College and is on her way to earning an MFA in Textiles at Kent State University.
Polly's passion for antique clothing came from her Mum, who spent the 60s wearing gent's smoking caps and cutting up Victorian frocks to make mini dresses. By the age of 11, a lifelong passion had begun and Polly was saving up her pocket money to buy 1920s flapper dresses.
As these old threads disintegrated with wear and vintage clothing became more expensive, Polly's only option was to teach herself to sew. Starting 17th century re-enactment inspired her to expand her skill base, and 23 years later, she's made everything from Vermeer-inspired bodices to 1805 naval uniforms.
Polly's vintage and antique clothing collection now fills her loft. Her costume books, fabric stash and vintage pattern collection fill the guest room. She shares the rest of her cottage in England with two small daughters, her parents, five chickens, two cats and a giant African snail.
Gina Barrett has provided reconstructions of narrow wares, passementerie and costume accessories for theatre, film, museums, costumiers and private individuals for over 10 years. She has also provided modern trimmings using traditional techniques for designers and artists (both clothing and interior). Her portfolio can be seen by visiting her website, www.gina-b.co.uk.
She is the contributor for the Passementerie entry in the Encyclopaedia of Medieval Dress and Textiles of the British Isles c. 450-1450 (Brill, 2011). Her most recent book, Tak V Bowes Departed: A 15th Century Braiding Manual Examined (co-written with Elizabeth Benns), studies an extant 15th century manuscript which contains a text on braiding, and gives full modern instructions for how to make each of the braids included. She has also co-written 6 booklets on medieval narrow wares, as well as producing how-to articles, papers and essays on other forms of passementerie. She is currently working on a series of how-to guides covering all aspects of passementerie making, available on dvd.
Julia Barrett first became acquainted with historical costumes though the re-enactments at Kentwell Hall in Suffolk. She went on to train as a professional costume maker at the London College of Fashion under the watchful eye of Jean Hunnisett and Janet Arnold and has been making for over thirty years. Combining this with a lifelong passion for social history and costumed interpretation, she now specialises in the research into the wardrobe of ordinary sixteenth and seventeenth century women. Using her extensive historical and costuming making knowledge, Julia delves into both the women themselves, plus the fabrics, clothes and construction techniques in order to re-construct clothes that these women may well have worn. Her website is Clothing the Rose.
Bio coming soon
Trystan L Bass
Bio coming soon
A rural oil and farming town in central Alberta Canada is an unlikely place to find a young woman with a love for all things historical and opulent, yet this is where writer Michelle Bossert has found herself. Her love of costuming began at 14 and has since grown to carry on the 7th generation of seamstresses and tailors in her own family history. With specialties in bridal, corsetry, and hand embellishment, 6 years of pouring into a hobby has become a mostly full time job with a new bridal line and studio space on the near horizon.
Alexis has been making corsets since her mid teens, putting her experience at almost twenty years. She was a pioneer of online custom corsetry when she started out on Ebay in 1998, and continues to maintain an international clientele by doing most fittings remotely, over the internet, using measurements and photos.
Alexis attended FIDM for fashion design for two years where she learned the basics of pattern drafting, but otherwise has taught herself the specifics of corsetry through her own research and experimentation. Alexis lives and works in Houston, Texas, USA, where she has been making corsets full time since 2004. Working under the name Electra Designs, Alexis has built a worldwide reputation for excellence.
Heather "Ginger" Breo has been costuming professionally for close to twelve years. One of her first memories is of a Halloween when she was five, but it was ten years before Ginger took her first real sewing class and got her first sewing machine, and the rest, as they say, is history! Ginger is self-taught for theatrical, re-enactment, and purely recreational purposes. Along with acting and singing, the art of clothing is her passion.
Sunny Buchler grew up in the San Francisco Bay Area, which is a bit of a mecca for historical costuming, and moved to Cleveland, Ohio a couple years ago. Her undergraduate degree was in costume design, after which did some graduate work at the Motley School of Design in London. She did theatre costuming semi-professionally while in college, but today costumes as a hobby, rather then a profession.
Sunny has been involved in historical costuming and the SCA for the last 15 years, since before she started college.
Katherine is the epitome of the obsessed amateur costumer. A teacher by trade, she spends an inordinate amount of her free time collecting and recreating historical costumes for her own amusement. Despite her taxing profession, she seems to retain boundless energy for her sewing and now boasts a historic wardrobe of dizzying proportions, most of which you can see for yourself at her website, www.koshka-the-cat.com.
Katherine is a frequent participant in the Costumer’s Guild West’s annual “Costume College” and lives and works in Nevada, USA.
Kelly Cercone is a celebrated full-time freelance costumer based in Los Angeles. Sewing and pattern drafting for TV, film, music tours and local fashion companies, Kelly has worked on a wide breadth of commercial projects. She also maintains her own clothing label Anachronism in Action. Highly specialized in ladies period costume, millinery and vintage inspired corsetry, her pieces have been featured in Vogue Italia, Auxiliary Magazine, and on the cover of Fixation Magazine. In addition to her original and bespoke custom pieces, Kelly offers expertly crafted standard sized, affordable, ready-to-wear corsets for sale on Etsy.
Kelly attended California College of the Arts and has taken pattern-drafting intensives at the San Francisco based Apparel Arts. In Los Angeles, Kelly studied Fashion Design and Theater Costume Design at FIDM, graduating with honors.
For the latest info on Kelly’s recent projects, check her out on Facebook.
Bio coming soon
Bess Chilver is an entirely self-taught amateur historical costumer, who has been familiar with needle, thread and fabric since she was old enough to hold a needle, but caught the “costuming bug” in 1993 when she had to make her gown for her first year at Kentwell Hall’s Recreations of Tudor Life in Suffolk, England. 16th century costume has been Bess’ first love and specialism ever since. She and her husband have frequently been costumed extras in historical documentaries such as the Channel 4's “Royal Deaths and Diseases” series and BBC2’s “Days that Shook the World".
In the last few years, Bess’ costuming interests have broadened from Tudor and Elizabethan to include Regency, 1840s, “Natural Form” Victorian, 1910s “Titanic”, Edwardian periods and WWII Women’s Auxiliary Airforce. Some of her costuming work is shown on her website. Bess lives in the Suffolk countryside in a 14th/15th century timber framed house along with her husband Edmund.
C. Claridge sewed from an early age, and quickly discovered that historical costumes were much more interesting than modern clothes.
She is fascinated by all the textile arts, including knitting, spinning, weaving, quilting and embroidery, as well as sewing. However, she has recently found the limit of her skills when she started to learn bobbin lace.
She can be found on Ravelry.com and Livejournal as Evelyn123.
Suzi Clarke was born and brought up in Shakespeare's birthplace, Stratford-upon-Avon in England, attending theatre productions from the age of four. She began at the Royal Shakespeare Company by learning how to work with costumes already made. She then went to London and worked in the West End on various productions, ranging from Winnie the Pooh through Gypsy, Hedda Gabler and Three Sisters to a nude revue with 147 costumes.
Following marriage and the birth of a son Suzi returned to college, where her tutors were Jean Hunnisett and Janet Arnold. She briefly returned to the RSC as a costume maker, then went freelance. She has been making costumes ever since, including some film, theatre and TV work, and is currently attempting (unsuccessfully) to retire. Suzi lives in London with her husband. You can see her work at her website, Suzi Clarke - Costumier.
Vicky Clarke is a writer, housewife, bellydancer, and general creative rebel who's wrestling with the beginnings of the green revolution. Living sustainably isn't easy, so she's been getting back in touch with her inner hippy and learning lots about recycling, reusing and economising. That's where the sewing machine came in. Her "holy grail" is not a single garment; it's to bring back out of history patterns and styles that flatter women with curves, and make them practical and wearable for today. She want to unite the best of today's techniques and fabrics with the best of history's wisdom to make clothes that are practical, stylish and compatible with modern life.
Vicky lives in Cambridge, UK, along with her partner and a quite ridiculous collection of craft materials.
Kelly Cochran Davis
Bio coming soon
Danine Cozzens fell in love with costume history while studying English literature at UC Berkeley. For the past 25 years she's used historic costume as a window into the past, on the premise that knowing what people wore helps a modern person to understand an earlier era. Starting as a singer at Renaissance and Dickens Fairs, she moved on to create historically-inspired events. She has served on planning boards for the Bay Area English Regency Society, the Greater Bay Area Costumers' Guild and the Art Deco Society of California.
Loren Dearborn is a costumer and a history buff whose main interest is 18th and 19th century costumes and historic movie costumes. She is a member of the Costume Society of America and the Victorian Society of Falls Church and a frequent attendee at Costume Con and Costume College. She has a particular passion for period hats and shoes. She spends her free time going to costume events, sewing with friends, reading Victorian sensation fiction, watching costume flicks, having tea, collecting fabric and reading biographies - usually of 18th or 19th century personalities. You can read about her costumes on her livejournal.
A California native, Loren lives with her husband, two sons and assorted barn cats in a 1750/1990 house in the Shenandoah Valley of Virginia, USA.
Carolyn's sewing and historical costume interests first came together during a BFA in Visual Art - she took all of the costuming courses available through the Theatre Department. At first she thought she wanted to be a costume designer, but it didn’t take long to realize that her true passion lay in actual historical garments and their construction.
Her most recent project, completed as part of her Master's degree, consisted of the accurate reproduction of middle class Englishwomen’s garments from the time period c.1750-70. In addition to reproducing a complete wardrobe of garments using accurate materials and techniques, she also replicated certain aspects ofan early modern seamstress’s working experience, dressing in clothing of the time, working only by natural light or candlelight and sitting onan uncushioned woodenkitchen chair. She kept a blog of the specifics of the project along with thoughts, impressions, and questions that arose from the experience at Rockin' the Rococo.
Serena is Assistant Curator at the National Portrait Gallery, London. Previously, she has worked with the dress and textile collections at Leeds Museums and Galleries, the Snowshill Collection, and on the West Yorkshire Textile Heritage Project. She is also working on a PhD in History from the University of Warwick, entitled Fitting Fashion: Clothing the Eighteenth-Century Body. She has been recreating historical dress since she was in school, eventually starting her company, Dressing History http://www.dressing-history.co.uk in 2008. She approaches garment reproduction as a form of experimental scholarship, focussing her research on authentic construction techniques, and the experience of making and wearing clothes.
More information about her research can be found on her Warwick and NPG webpages, and on her personal blog.
Elisa Edgren lives in Stockholm, Sweden and have been interested in fashion history since childhood. She spent ten years making costumes for amateur theatre and operas, but wanted to make beautiful clothes for herself and became a member of the 18th century society Gustafs SKål in 2001. Though the 18th century holds a special place in her heart she is also interested in other time periods, especially the 17th century. Apart from sewing she is also passionately interested in the history of cosmetics and has for the past ten years held regular lectures on 18th century makeup.
She writes about her costumes and research at Isis’ Wardrobe and about historical makeup at Madame Isis Toilette.
Lindsey Eastman is a customer service representative by day and passionate historical costumer by night. She began teaching herself to make historical costumes in 2003 and rounded out her education with her Bachelor of Arts in Theatre Design and Production from Illinois State University. During her college studies, Lindsey costumed everything from Gilbert and Sullivan’s HMS Pinafore (her personal favorite) to modern dance pieces.
Through her work in theatre Lindsey has dabbled in many periods, but her true love is the mid to late 16th Century in England and various regions of Italy. These periods fit well with her unusual love for making gowns from curtains. Lindsey lives in Central Illinois with her stacks of fabric and carpet full of pins. Her work can be seen at www.changeablethreads.net.
Lucy was introduced to the world of corsetry when she was twelve, and has been hooked ever since. She loves to use traditional techniques in corsetry to create new and innovative looking corsets, and is willing to take months completing one piece if it means it is how she envisaged it.
She collects vintage dressmaking books and has over 100, with a few Victorian ones, but mostly books from the 1940s-50s. Her favourite period for corsets (and clothing) is the natural form era, and she collects women’s clothes from this period.
Elizabeth Estervig is a third year M.F.A. candidate in costume technology and design at Ohio University. She has been designing and pattern making professionally since 2004, and working on costumes for theatre since 2000. She was an undergraduate at University of Minnesota Twin Cities and worked with several theaters in the area. Tailoring, speed draping, and writing are some of her favorite pass times.
Chantal Filson has been a costumer for film, television and theater for the past 14 years. A lifelong interest in historical fashion evolved into re-enacting and teaching in recent years with a focus on women's apparel. An avid collector of both antique and reproduction clothing, she is also a member of the Art Deco Society of Los Angeles, the Costumers Guild West and taught several seminars at Costume College 2011 and 2012.
Diana Habra Rotheneder
Diana has been a costumer since 1992. Since that time, she has been involved in the Society for Creative Anachronism, the Northern California Renaissance Pleasure Faire, and various Victorian and themed dance balls. She has created costumes from the 11th to the 19th centuries and had had fun doing them all, but her speciality is fabrics.
Diana's website Renaissance Fabrics is a source run for costumers by costumers. It specializes in wool, silk, linen, and cotton fabrics for historical costumers, but also carries brocade fabrics for that very special fancy gown or doublet as well as historical trim, lace, patterns, buttons, and books.
Emmalia Harrington's gateway drug into historical clothing was the American Girl dolls, but it wasn't until she got a sewing machine and joined the SCA that the habit became consistent. Once she resumed collecting dolls, her home acquired an ever growing mountain range of fabric. She likes too many eras to have a favorite, but has a soft spot for the Renaissance, Rococo, Regency and Victorian periods. When she isn't making Occidental clothing, she is cosplaying or making Japanese style outfits.
Aside from sewing, Emmalia enjoys knitting, dyeing, academia and especially writing. Her Master's thesis combined several of her loves, explaining the political context of women's clothing in the early United States. Her blogs can be found at bjdcouture and Studio Zanobia.
Cathy Hay is the creator and publisher of Foundations Revealed™ and the award-winning Your Wardrobe Unlock'd™, both of which were borne out of a grand wish to help other corsetmakers and seamstresses to stay inspired and positive, maximise their skills and realise their sewing dreams.
She is a member of both the Costume Society in the UK and the Costumer's Guild West in the USA, where she teaches at Costume College. A website featuring her own ridiculously ambitious costuming projects can be found at The Peacock Dress and Other Stories.
Jema Hewitt has over twenty years' experience in the film, bridal, television, museum and theatre costuming business. A published author and regular contributor to crafts and bridal magazines, she lectures at universities around the UK and runs workshops on corsetmaking and other subjects from her studio in Nottingham, England.
Jema can also be found on her website, Kindred Spirits.
Bio coming soon
Joy’s Victorian Needle started in 2003 after a trip to Tombstone, Arizona, USA on which she was inspired by the Victorian gowns that the women were wearing in town. She has educated herself through classes, self-study and examination of extant garments to learn draping, pattern making, period sewing techniques and design.
Joy creates gowns from the 1910s-1950s, and all their accoutrements, as well as the Victorian gowns and undergarments that her business name suggests. She has made period clothing for individuals and also for a National Historic Park. She also restores, repairs and recovers antique parasols, and last year was able to work with Kris Peck from Silver Bullet Productions to make the parasols for the movie The Lone Ranger with Johnny Depp.
Alyxx Iannetta is the daughter of a professional craft seamstress and doll-maker who taught her to sew as a child. She was bitten by the costume bug at age eleven when she started doing craft and Renaissance faires and has never recovered. Her whole family fell victim to her passion and it was years before they started to look reasonable.
Alyxx lives in Los Angeles, California where she has costumed both fully staged operas and individual clients, frequently focusing on the 16th century for the SoCal Renaissance Faire. You can see more of Alyxx’s work at her website.
Bobbie Kalben lives in Seattle, Washington, USA and works as a pension actuary. She loves to research time periods from 1300 to 1950 for costume details and constructs outfits using techniques and materials available in the time period whenever possible. She shares what she learns with fellow Somewhere in Time, Unlimited (SITU) members in classes and workshops. She attends SITU-sponsored events, such as Titanic, Great Gatsby, New Orleans 1803, etc. and participates in historical recreations and community celebrations. She attends classes at the annual Costume College in the greater Los Angeles area and at local community colleges, as well as studying at museums and libraries.
Bobbie invites you to visit the SITU website at http://www.costuminginseattle.com/.
Alison Kannon is a freelance seamstress and a rabid historical fashion enthusiast. While she enjoys studying a wide variety of historical eras, her primary focus is Elizabethan England and the Early Modern English period.
Alison has been sewing and researching historical garments for the past 13 years. She is involved in the Society for Creative Anachronism and Gardiner's Company as well as the North Carolina Costuming Society. When not studying historical fashion she is a cardiovascular researcher at UNC Chapel Hill.
Learn more about Alison’s projects and research at Elizabethan Mafia.
Bio coming soon
Hallie is a historical costumer and owner of the 18th Century Sutlery "At the Sign of the Golden Scissors" and also blogging at 18th century Stays. Her work is based on personal observation and study of original 18th century artifacts.
Hallie lives in Swansea, Massachusestts, USA and is currently serving as the President, Costume Society of America, Northeastern Region (I), and President of Southcoast Historical Associates 501C(3). She is also a founding member of the Ladies of Refined Taste, a group of dedicated re-enactors who sponsor the "Hive", an ongoing series of workshops and lectures at the Minuteman National Park, Lexington, Massachusetts.
Elizabeth’s very first sewing project was an 18th-century robe à l’anglaise for a sixth-grade history report. It took her so long to get dressed that the principal thought she’d pulled a runner, and called the cops.
Elizabeth first cosplayed in 1997 in a truly awful Ranma 1/2 costume at the Chicago Comic Con. She's dressed up as a variety of characters over the years, and her personal philosophy is, "Go big, or go home." Style icons include Dolly Parton and Charo. Elizabeth spent several years working in costume shops around the country and has made costumes for everyone from good-hearted Oscar-winners to raving divas nobody has ever heard of. She collects vintage clothes and loves sewing more than anything in the world except baby cows.
She has a Master's in Japanese history from Stanford and currently works as a writer in Heidelberg, Germany. Her long-term career goal is to become either a drag queen or a parade float.
More of her work can be seen at www.ambiencechaser.com.
Sarah Lorraine is an accomplished costumer and former Fashion Design Instructor at the International Academy of Design & Technology in Sacramento, California. Sarah started costuming around the age of 12, but considers a gown made at age 23 to be her first "real" garment. The products of the intervening years are locked in a secure location where no one is allowed to go.
Sarah believes that good sewing is all in the amount of dedication you want to invest in it. “As with anything, it takes practice to get good at making an outfit that looks and feels like clothing, not just a costume,” she says. “Expect to rip out lots of seams. Expect to cuss like a trucker. Expect to throw some tantrums. But in the end, if you stick with it, it becomes easier and easier.”
Sarah maintains a website of her work at www.modehistorique.com.
Constance MacKenzie has enjoyed a love of history, costume and dressing up from childhood, and it has become her professional career. The historical costuming really started when her family took part in re-enacting at Kentwell Hall, Suffolk, UK. As well as making for re-enactment, she has made costumes for various historic houses and museums interpretation teams.
She went on to study Costume Interpretation at Wimbledon School of Art, and vowed to never work in the theatre. However, this has not worked out, since she is currently working in the ladies' costume department at Glyndebourne Opera House as well as having worked as an in-house costumer for Shakespeare’s Globe Theatre and The Mercury Theatre. Her main love is still hand sewn authentic costume.
Jason started sewing thirteen years ago as a side hobby, fueling his thirst for living history. Having grown up in historically rich areas such as the Highlands of Scotland and South Oxfordshire/ Berkshire Downs in England, Jason has always been facinated by history, culminating in attending University for Archaeology. At nineteen, Jason left for America and was soon drawn into American living history. He bought a sewing machine and never looked back.
The articles he wrote for us gave Jason the confidence and motivation to publish his first book, The Victorian Tailor: An Introduction to Period Tailoring.
Lynn has sewn almost all her life but her output has changed over the years. From everyday clothes, home decor and crafts she graduated to dressing porcelain dolls in period clothes, marketing and selling the patterns. She has made educational puppets and costumes for such places as the Monterey Bay Aquarium, Point Reyes National Sea Shore and Santa Barbara Botanical Gardens.
She loves embroidery, elaborate trims, real pearls and making hats; but above all making hats. This love of hats has lead to a line of hat patterns and the teaching of many millinery related workshops. More of her work can be seen at www.lynnmcmasters.com.
Lynn lives and works on California’s Central Coast.
Marion loves teaching others draft their own patterns and explore new ideas. She's best known for her research and recreation of the clothing, hats and material culture of Early Modern Germany which she publishes on her blog, and on her website, but she has a serious weakness for the clothing of the 1800's and the 1950's.
Marion loves teaching others to draft their own patterns and explore new ideas. She has a serious weakness for the straight front corsets and beautiful flossing designs of the late Victorian age.
Marion lives with her very patient husband and son in the Pacific North West.
Bio coming soon
Kate Newton is a high school technical services and reference librarian, but secretly dreams of being a 16th century Spanish noblewoman. She is a member of the Society for Creative Anachronism, Inc. (aka Doña Beatriz Aluares de la Oya), and has lived all over the Known World in her 24 years of participation. Her website is dedicated to the clothing and material culture of post-Reconquista Spain, and she is seriously dedicated to spreading “Spanishy goodness” to all corners of the world.
Kate lives in Northern Virginia, USA with her husband and four cats, all of whom like to “help” with her projects. In addition to all things Spanish, Kate has a love of 1930s fashion, knitting, garment sewing, and cooking things from strange early modern cookbooks.
Bio coming soon
Izabela is a professional costumer hailing from Poland, but living in the UK. Under the business name Prior Attire she provides costumes for a variety of periods from the late Roman era up to the 19th century, specializing in the medieval periods, as well as wedding clothes as Prior Engagement.Every item is thoroughly researched, and all care has been taken to render it as close to the original as it is possible, using the patterns and techniques appropriate for the period.
Izabela has made costumes for re-enactors from the UK, Sweden, Norway, Poland, Germany and France.
Bio coming soon
Nicole Rudolph began sewing at an early age, quickly becoming enraptured with the world of costuming. She attended Ball State University, where she focused on costume design. Soon after graduation she moved to Williamsburg, Virginia and began working in Colonial Williamsburg’s Costume Design Center as a tailor. Two years later, taking the knowledge and experienced gained from that position, she ventured to open up a historical sewing business. She continues to seek out research and knowledge through original texts and images, extant garments, and workshops.
Nicole can be found at her website, Golden Hind Millinery.
Astrida Schaeffer has been making reproduction historical clothing since 1986 and museum mannequins since 1998. She managed collections at the Museum of Art, University of New Hampshire for ten years and learned the craft of carving mannequins at the Textile Conservation Center in Lowell, Massachusetts. Her background in researching and making historical reproductions gives her a deeper understanding of what each garment needs in its mannequin in order to look its best. In addition to working with museums and historical societies in New England and beyond, she has curated a number of costume exhibitions, most recently Embellishments: Constructing Victorian Detail; an award-winning book of the same name was published in 2013. Her website is Schaeffer Arts.
Cynthia (or Cindy, as her friends know her) has had a passion for sewing, historical fashion, film, and theater costumes since her early teens. She opened Redthreaded in 2009 as a way to offer her costuming skills to a global retail client base, and soon expanded the scope of the business to theatrical contracts as well. Her professional theatrical costume portfolio and technical resume can be seen at cynthiasettje.com.
Raquelle & Heather Sheen
Heather and Raquelle Sheen are sisters from Taylors, SC, USA. For many years they have enjoyed doing things together! They both have degrees in history. They enjoy reproducing historical garments, studying their favorite historical eras, reenacting, and learning and teaching historical dancing. They have planned a number of history-related events and are on the planning committee for the Olde South Ball in Greenville, SC and the Southern Victorian Soiree in Newberry, SC.
Holly Stockley lives and practices veterinary medicine in Western Michigan. Here in the heart of Dutch Country and the land of the Tulip Festival, she indulges a love of Dutch costume from the 16th through the 20th century. This includes the study of smocking from it's first appearances in the 14th century all the way up to it's more modern incarnations. An unfortunately short attention span means that one never knows which era will be the next to fall under her needle. A vintage girl at heart, she collects antique textiles, trims, patterns, and other sewing paraphernalia. Sometimes these treasures find their way into her creations and sometimes they just take up permanent residence in the sewing room as inspiration.
Her work in early modern Dutch costume, as well as various other flights of fancy, can be found at: www.insaneaboutgarb.com/friesianfrockgirl.
Natasha was gifted her first sewing machine in 2001, but it wasn’t until 2007 that she really discovered her love of sewing and historical costuming. Originally concentrating on Italian Renaissance costumes, she now focuses primarily on mid-Victorian sewing. At her best when working on large, ambitious projects, she is currently working towards making at least 25% of her own clothing and is recreating a 1906 evening gown for her wedding in late 2013.
Natasha lives in Rodeo, CA with her fiancé and two cats, Boris and Winnie, and can be found at Brass and Lace.
Laurie was thrust into the costuming world when asked to not only play Mary, Queen of Scots but also to design and construct a gown fit for such a queen. Having dabbled in sewing her whole life, she found her passion in historical garments. As news of her skills spread through the historical re-enactment community, more and more commissions and awards came her way. With a reputation for unrivalled attention to detail and uncompromising standards, she started a website, took commissions, and now maintains a waiting list for gowns, accessories, and corsets, her fondest specialty.
Outside the sewing studio, Laurie has SCUBA dived in Monterey and worldwide, fenced frequently in the classical Italian style and danced almost every night of the week. She lives in Northern California with her husband and young son.
Benjamin Thapa is a UK based Costume and Set Designer. Born to a mixed Nepalese and British heritage, Benjamin has been exposed to a diverse spectrum of cultural history from a young age. Investigating narrative through in-depth research and social understanding continues to be Benjamin’s driving focus.
Having trained in graphic design and visual communication before working professionally across theatre, film, fashion and advertising, Benjamin has developed a multidisciplinary approach to creative thinking and storytelling. His design expertise includes costume and set design, concept design and illustration, textile print design, and creative direction. Projects to date include collaborations with brands and establishments such as The Crucible Theatre, Christian Dior, Prada, Vogue and Yohji Yamamoto.
Jennifer has a masters degree in studio art, specializing in drawing, printmaking, and painting, but she has a true passion for creating historical clothing. She is an entirely self-taught and rarely uses patterns. Costuming is a hobby for her as she dones't want to screw up the fun by turning it into a job.
Jennifer currently lives in the Dallas/Ft. Worth area of Texas with her young son. She is an officer in the The Dallas/Ft. Worth Costuming Guild and also volunteers at the living history days at Chestnut Square in McKinney. She can be found on the internet at Festive Attyre.
Introduced to sewing at the tender age of 9 by her mother, Jennifer Thoreson launched herself into it wholeheartedly. Discovering the world of costume design in college, the idea that income could be generated from sewing opened a whole new world of possibilities. A few short years later the Purple Pincushion, Custom Sewing & Alterations was born and hit the ground running.
Ten years and thousands of dresses later, the time for change has come. Now Jennifer’s sewing focus has turned from her customers’ demands to the demands of her heart as she embarks on the adventure of motherhood. You can follow her adventures and misadventures at One Stitch At A Time and Sweet Ginger Vintage.
Bio coming soon
Kendra Van Cleave
Kendra Van Cleave has bachelor’s and master’s degrees in history and is an accomplished historical costumer. Kendra has performed with Bella Donna Venetian Courtesans since 2005. She has sewn for profit before, and could be talked into it again for the right amount of money.
Her current emphasis is on costume of the nineteenth century, although she's particularly fascinated by the 1770s-1790s, 1870s, and 1910s. She has an almost unnatural passion for stripes, thinks that all clothing should include box pleats and massive amounts of piping, and would be inordinately happy to spend her life on the couch hand sewing. Kendra lives in the San Francisco Bay Area. You can see more of her work at www.demodecouture.com.
Lisha Vidler discovered the joy of sewing doll clothes at a young age. She didn't even own a sewing machine — until she found a number of online costume diaries and became jealous of all these people accomplishing great things. Envy propelled her to start sewing her own historic costumes.
Writing is her other obsession in life. Once she began drafting articles for Your Wardrobe Unlock'd and Foundations Revealed, she uncovered a passion for teaching others about sewing. In addition to becoming a sewing instructor, she launched a website to help others learn the tips and tricks of dressmaking: Yesterday's Thimble, which features articles, tutorials, sewing diaries, and regular blog posts.
Katy Werlin is a professional fashion and textile historian and self-taught historic costumer. She received her MA in Visual Culture: Costume Studies from New York University and has worked in several museum collections including the Fashion Institute of Design and Merchandising Museum, the Metropolitan Museum of Art, and the Chicago History Museum. Her writing has been published in history magazines and academic journals, and she contributed several articles to a new encyclopedia of American fashion history. Her research interests lean towards the theoretical side and focus on 18th century French and English dress and textiles, the history of ballet costumes, and the interplay of politics, philosophy, and design in the long 18th century.
Her costuming work has mostly focused on the 18th and early 19th centuries, although she has recently branched out into the rest of the 19th century and the early 20th century. She blogs about fashion history at The Fashion Historian and her historic costuming at The Time Travelling Redhead.
Mette Wikkelsø is a self-taught hobby-seamstress, who uses the creativity of sewing to balance of the strict discipline of her daytime job as a pharmacist. Having no preferences for periods, she happily spans from viking-age to victorian and all the way to starwars, always seeking new peculiarities and challenges.
Following the fashion-advice of ‘more is more’, Mette blogs about her sewing adventures on ‘Larger than life –is just the right size’.
Diane Yoshitomi has felt at home with a needle and thread in hand since age 9, when her grandmother taught her to embroider. In her twenties and thirties she made nearly all of her clothes and, when she entered fashion design school in the 1970s, she designed them as well. It was not until the 1990s, as a docent at a Victorian historic house museum, that she stumbled into another dream world for the fashion conscious, that of historical costuming.
In addition to making costumes, though she prefers to call hers "period dress," she loves to dance in them, and now focuses more attention on 19th century ballgowns and early 20th century dance frocks than to daytime attire, though the prospect of a very special tea can always redirect that attention.