Headpiece + pleated skirt + and pvc pole on Deloris.

February 9th

Patterns of the back of the top of look four before they where updated.

Draping and sleeve placement in San Francisco post-quarantine.

May 7th, the two week point before hand-in. A side view on the dress form.

Front view of the first attempt of the floating skirt in February.

Detail of some of the 200 or more pleating in the skirt.

February 28th. Draping the jumpsuit from the fitting the day before.

24 hours before a fitting in March right before we where supposed to cut fabric. That week we had to get all our things out of the studio and continue our collection at home

April 30th. On the dress form, after I attached the front to the side/ back and before I finished the final jumpsuit closure.⠀

Pre-quarantine days in February at Polk studio draping and playing with the arch sizes.

The inside of the jumpsuit before I attached the center front. April 29, 2020

The inside of the structure of the arch in the jumpsuit in February.

The side profile of Tatum during a fitting in February.⠀

Deloris wearing an early toile of the circle cropped jacket on November 16, 2019.

May 7th the two week point before hand-in. A side view on the dress form.

Olivia wearing the suit + matching trousers during fitting December 6, 2019.

back of toile during the fitting in December 2019.⠀

One side of the pleated trousers before I attached the two together. May 8, 2020.

Understructure and mounting of the arches of the final jumpsuit.

During the weeks of post-quarantine in March & April, I was still in my apartment in SF, it was so quiet in the city. But it was a peaceful time and I just purely made the collection on my own.

I really liked the isolation and it not only allowed me to dive into the craft, but also let me explore the main topic of the void in ways I hadn’t before.