I worked as part of the Costume department design team alongside Costume Designer Ellen Mirojnick.
The work often crossed into hair, makeup, and creature-adjacent territory - making the process more complex, but also much more interesting and challenging — especially when it came to the Dark Fey.
AURORA, QUEEN OF THE MOORS | COSTUME
Princess Aurora, Queen of the Moors
“It’s blue, and it’s made by faeries!” was the brief. Probably one of the most iconic pieces I’ve had the pleasure to create — it is not often that a costume concept ends up on screen almost exactly as you painted it.
Cathryn Avison had created a beautiful selection of embroidery elements inspired by the Moors: leaves, butterflies, dragonflies, flowers, and details from the magical forest Aurora lived in. I pulled them together to form the bodice, imagining the faeries weaving everything into the dress by hand.
The design also became a way to show Aurora’s role as Queen of the Moors. She holds the kingdom together through many species living alongside one another, and the dress reflects that intermingling. The butterflies are drawn to her calm nature, while also symbolising her transformation from sheltered princess to queen of her own land.
The under-bodice was kept very simple, almost like an underdress, so the costume would not feel restrictive. The underskirt has touches of pink, referencing the colour battle between the faeries in the original animated film. For the main palette, I worked between pale blue, aqua, and hints of silver, using layers of fine, veil-like fabric to keep the silhouette soft, feminine, and ethereal.
MALEFICENT CROWN | COSTUME AND HAIR
Maleficent - Crown exploration
Traditional sketches exploring possible crown and hair variations for Maleficent, designed as something she could wear into battle when her usual leather head wrap was not present.
I wanted the crown to feel more tribal and nature-made — almost built from bone, vines, and carved organic material — while still preserving the dark elegance and iconic silhouette of the character.
DARK FEY | COSTUMES
Dark Fey - Forest Elders
The Dark Fey came from different regions of the world, and I mostly focused on the Forest and Tundra tribes. These Forest Elders were designed for the scene where Maleficent discovers she is not alone. Their costumes and jewellery were imagined as extensions of their environment — woven from bark, feathers, vines, fibres, bone, and other natural materials, allowing them to blend into the world they came from.
DARK FEY | KEYFRAMES
This was the first production where I started placing character designs into small story moments based on what I had read in the script, rather than only showing them in standard concept art poses.
It was a useful way to quickly test how a group of characters might work together, how costumes could behave in movement, and what kind of mood or storytelling was coming through. These were not meant to be highly finished keyframes, but flexible design sketches that could suggest a scene without making the designs feel locked too early.
Dark Fey - Shaman and child
A story sketch showing an older, shaman-like Dark Fey telling the story of Maleficent, Diaval, and Princess Aurora to a young Fey child through magic. A great way to explore not only costume, hair, and silhouette, but also how the Dark Fey might pass down stories, memory, and myth within their own culture.
Dark Fey — Attack above Ulstead.
A quick story sketch exploring the brutality of the battle above Ulstead during the final charge. I used the scene to test how the costume, wings, hair, and overall silhouette might behave in the air, while still keeping the characters readable in the middle of movement and chaos.
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