Linen chemise and silk bodies with synthetic whalebone and a wood-burned busk inserted; based on an extant Elizabethan pair. Photography by Evelyn Ivy + Enlarge
Elizabethan Undergarments (View 1) 2021 Silk, linen
Linen chemise and silk bodies with synthetic whalebone and a wood-burned busk inserted; based on an extant Elizabethan pair. Photography by Evelyn Ivy + Enlarge
Elizabethan Undergarments (View 2) 2021 Silk, linen
Tudor inspired ensemble. Includes silk over gown with custom designed hem based on French manuscript designs, silk petticoat with watercolor mono-screenprinted panel, decorative sash, and embellished headpiece. Photography by Evelyn Ivy + Enlarge
Tudor Inspired Gown (View 1) 2021 Silk, linen, satin
Tudor inspired ensemble. Includes silk over gown with custom designed hem based on French manuscript designs, silk petticoat with watercolor mono-screenprinted panel, decorative sash, and embellished headpiece. Photography by Evelyn Ivy + Enlarge
Tudor Inspired Gown (View 2) 2021 Silk, linen, satin
Linen shift and pair of 18th century stays. Photography by Evelyn Ivy and modeled by Abby Holgerson. + Enlarge
18th Century Undergarments (View 1) 2020 Linen
Linen shift and pair of 18th century stays. Photography by Evelyn Ivy and modeled by Abby Holgerson. + Enlarge
18th Century Undergarments (View 2) 2020 Linen

Photography by Evelyn Ivy

Commemorating my best friend who passed away in 2020.  Painted using Renaissance techniques (glazing and scumbling). + Enlarge
For Kiko 2020 Oil on wood panel 12x24 in.
Conceptual development sketches for final garments. + Enlarge
Conceptual Sketches (1) 2020 Digital
Conceptual development sketches for final garments. + Enlarge
Conceptual Sketches (2) 2020 Digital
Conceptual development sketches for final garments. + Enlarge
Conceptual Sketches (3) 2020 Digital
Statement

In today’s age as we live in the time of immediate gratification, forcing myself to slow down when I create my own art has recently been gratifying. Examining the concept of object permanence specifically within fashion is what pushed me to look back in time for inspiration regarding how I want to create work. By referencing periods within history where the luxury of time existed and pieces created were meant to be enjoyed for years, I weave the much-required structure and discipline of historical methods of creation into my own art.

Examining fashion specifically, I find comfort in the slower, meditative process of creating historical garments. In a way, it’s a selfish trick to force myself to enjoy the actual steps that must be taken to finalize a piece. Knowing that dozens of hours went into hand-sewing a corset or hand-painting silk makes the pieces so much more precious to me. The world of fast fashion has completely changed how we see clothing and by taking the time to carefully work within the constraints of historical accuracy, my paintings and garments take on new meaning. They become more than decoration or something to wear, but pieces of art that demand the consideration of every aspect of the project.

Fascinated by the aesthetic of decadence from centuries ago, I use the same methods of craft as Medieval and Renaissance arts. By hand sewing an intricate corset, carefully glazing an oil portrait, and using the limited palette of medieval manuscripts and tapestries, I enjoy the time it takes to make work, even though all my efforts aren’t immediately noticeable. An embroidered pocket that is hidden under layers of petticoats wouldn’t even be seen by others when worn daily, but it’s still a work of art all the same. Life moves too fast today for this kind of work to take priority on a grand scale; especially in terms of making clothing. By considering each step as its own art form, I examine the abstract concept of how we value time when it comes to creating something that may not normally be seen as art.

Painting (BFA) Students