• Experimentation on visual transformations, what happens when the individual meets its circumstances? IDENTITY
  • M. Butterfly - storyboards (part 1)
  • M. Butterfly - storyboards (part 2)
  • Madama Butterfly from G. Puccini. Dance performance.
  • Madama Butterfly 2
  • Madama Butterfly 3
  • Madama Butterfly 4
  • Madama Butterfly 5
  • Madama Butterfly 2
  • Madama Butterfly 6
  • Madama Butterfly 7
  • Gayev, The Cherry Orchard by A. Chekhov
  • Gayev. Costume's storyline.
  • Gayev Costume 4
  • Gayev Costume 1
  • Gayev Costume 5
  • Gayev Costume 2
  • Gayev Costume 3
  • THE HENS from "The Cunn Janaceck ing Little Vixen" by Leos Janaceck. On-stage performane project
  • The hens 2
  • The hens 3
  • The hens 4
  • The hens 5
  • The hens 6
  • Snowhite
  • Snowhite 2

I began my career in fashion, passionate by the way clothing is a cultural personal reflection, and a key tool for communication.

This MA aloud me to explore deeper into the sociological/psychological side of color and garments, and how its slight changes can be properly used to develop a storyline.


For my on-stage project, based on the opera "The Cunning Little Vixen" by Leos Janacek, I researched on the Steam punk movement and aesthetics, to represent the duality of humanized animals, the brownish colors of the farm, and the fact that the hens are a flesh machine to be used until it breaks.

For my film project, based on "The Cherry Orchard" by Anton Chekhov, I chose Magic Realism as my context, particularly Jan Saudek's visual language, which I found a perfect match for the decadent, familiar story with reminiscences of ingenuity and hope. My character, Gayev, was a grown Peter Pan, led to Neverwhere by his fruit drops and billiard games.

As my Final Major Project I worked in the opera "Madama Butterfly" by Giacomo Puccini, as a contemporary dance piece. Making the "set" able to operate as part of the costume to represent how she is born, raised and trapped in a moral system and how that influences identity and freedom.