About

Bree Miksovsky personal portfolio

Disaster!

Macbeth

The Guy Who Didn’t Like Musicals

Eurydice

SIX

Anne of Cleves

I made this red and black costume inspired by Gabriella Slade’s designs. It consists of shorts, a top, and a belt, each of which can be torn away to reveal the outfit underneath.

The top separates into a left piece and a right piece, while seams on the sides of the shorts allow them to be torn off from the back.

This was my first time designing an on-stage tear away costume, so I had some snags—literally—that I had to work out.

The outer costume’s base consists of mainly fabrics I already owned; I wanted to limit both cost and environmental impacts.

The under costume consists of a top, shorts, and a harness. I patterned and fabricated the entirety of the costume, including bedazzling the boots!

Catherine Parr

Also inspired by Gabriella Slade’s design, I created the bodice for this costume. This costume began as a prom dress, with sleeves, trim, and shoulder panels sewn on.

Ensemble (background): I designed and aided the newer members of the costuming team on the construction and assembly of the various ensemble costumes.

Beauty and the Beast

Madame de la Grande Bouche

Madame de la Grande Bouche (right) is an opera diva whom the castle’s curse has transformed into a wardrobe.

Madame’s ballgown is inspired by 18th century French fashion, specifically inspired by the Robe a la française. In order to achieve the proper silhouette, this outfit includes several underlayers: a chemise, a corset, panniers/pocket hoops, and several layers of petticoat all beneath the overskirt.

I patterned and designed this dress in my freshman year with guidance from the costuming lead. The design process featured several mockups to ensure it fit the actor well. I used French seams for durability and the actor’s comfort.

The ballgown features drawer-like pockets that contain clothing which Madame pulls out to comedic effect.

After the curse is broken in the final act, Madame returns to her human form.

To highlight differences between Madame’s wardrobe and human forms, I incorporated removable elements into the ballgown:

The drawer-like pocket panels, attached with Velcro, are detached for the final act.

The cabinet-like brown stomacher worn over the chest and stomach is likewise detached and replaced with a more fashionable one constructed from the same fabric as Madame’s dress.

A Midsummer Night’s Dream

Nick Bottom and the Mechanicals

Nick Bottom (center) is a weaver and a member of an amateur acting troupe. He is known for his overconfidence and desire for the spotlight.

These outfits featured few items created from scratch; rather, their costumes were put together from the school’s preexisting garment collection. As costuming co-lead, I oversaw the newer costuming members as they selected which pieces the actors would wear, and I helped style the garments in ways appropriate to the character.

Puck

A mischievous servant of the fairy king, Puck is known for his playful and mercurial behavior.

My team and I created Puck’s wings from scratch using a variety of textiles the school had on hand, employing a moth design for contrast with the more traditional, butterfly-like wings worn by the other fairies.

The Lovers

The young Athenians Lysander, Hermia, Helena, and Demetrius form the complex love square at the core of the play. Their outfits are inspired by ancient Greek fashions. I worked directly on the outfits for Lysander, Hermia, and Helena, and assisted a new costuming member with Demetrius’ outfit.

Theseus

Theseus (left), the Duke of Athens, is preparing to marry Hippolyta, the Queen of the Amazons (right). His outfit is inspired by ancient Greek fashions, and consists of a toga, a himation (wrap), and accessories. I sewed this outfit from fabric the school already owned.

Cosplay

Fearne Calloway

Cosplay from the web series Critical Role

In addition to working on theatrical productions, I enjoy creating outfits for myself based on characters I like.

Fearne is a satyr. Her outfit consists of a base dress, corset, cape, and various accessories, all created by hand.

I created my own pattern for her dress rather than using a store-bought pattern. I designed the goat horns and ears with magnets that attach to a hidden hairband. The wooden staff was created from air-dry clay over a base of wood and PVC piping.

Link

The Legend of Zelda: Tears of the Kingdom

This shows the full outfit (excluding the Cece hat), including Link’s arm, Zonai battery, and decayed sword. I patterned and sewed the other elements of this outfit, using French seams on the main toga and green sash. I frayed and painted the toga’s bottom hem to give the outfit an older and well-worn appearance.

Master Sword

The Master Sword is a reoccurring weapon throughout the Zelda franchise. In Legend of Zelda: Tears of the Kingdom the sword is partially destroyed, giving it a gnarled and withered appearance. This page shows my process to create this prop.

I began with a scaled reference photo and a base made from found materials. This base consisted of wood, foam, and armature wire.
I sculpted the prop from air-dry clay, using the reference photo for scale and shape. I then primed the prop for painting.
I finished by painting the sword using acrylic paint and sealing it with a matte varnish.

Miscellaneous accessories

Zonai Battery: This prop plays a key role in the game. It was constructed using found materials, clay, and paint. I included a circuit of LED lights to let the prop glow.

The Cece Hat: I constructed this rather ridiculous item using a foam and wire base, a fabric cover, and accessories I sculpted with foam and air-dry clay.