My work in historical reconstruction is rooted in primary source research, extant garments, and period tailoring techniques. Each reconstruction is approached as both a scholarly investigation and a practical garment, balancing academic accuracy with an understanding of wear, movement, and material behaviour.

I specialise primarily in 17th- and 18th-century European dress, with particular focus on French fashion, while also working across neighbouring regions to explore regional variation within shared chronological frameworks. My reconstructions are informed by museum collections, archival documentation, period imagery, and surviving textile fragments.

Whenever possible, I employ historically appropriate materials and construction methods, including hand-sewn techniques, period-correct seam finishes, and structural solutions derived from extant originals. Where modern materials are introduced, they are used consciously and transparently, without compromising the visual or structural integrity of the historical form.

My practice places strong emphasis on silhouette, understructure, and textile logic — understanding how garments were built, worn, and maintained, rather than treating costume as a static surface. This approach allows reconstructions to function authentically both in motion and under close visual scrutiny, whether for research, display, or film use.

In addition to object-based work, my reconstructions often serve as a tool for interpretation and education, supporting lectures, workshops, and visual storytelling across academic, museum, and media contexts.