AMC’s The Son - Seasons 1 & 2
This show was an incredible journey! Over two seasons, I advanced from fitter to set costumer, ager/dyer, and ultimately Key Costumer in Season 2. Throughout, I styled and fit thousands of extras in authentic period costumes (1880s–1980s), translating designer mood boards into cohesive, historically accurate looks. I aged thousands of costumes, overseeing alterations, fabrication, and aging/dyeing processes to deliver high-quality costumes under tight deadlines.
Successfully managed daily logistics for dressing up to 200 extras, streamlining costume transportation and ensuring on-set efficiency. Designed and implemented a comprehensive database to track extras’ sizes, fitting photos, and assigned costumes, improving wardrobe organization and accessibility.
Additionally, I developed a photographic database for thousands of costume rentals, introducing a streamlined check-in and check-out system that significantly reduced inventory errors, saving the department tens of thousands of dollars in loss and damage costs. Collaborated with the aging/dyeing department during demanding episodes, performing custom paint jobs, fabricating jewelry, and adding realistic wear to costumes.
Here are some looks I’m particularly proud of!
AMC’s Fear The Walking Dead
Welcome to The Walking Dead Universe! Over the course of three seasons and 42 episodes, I performed over 2000 fittings on stunt performers! This was an incredibly exciting and stimulating job, as every day was a new technical challenge. Below are pictures of costumes I styled/designed over the course of my time on the show. Much of my job was working closely with the special effects and makeup effects departments to incorporate their components into our costumes. A couple of innovations I’m proud of are using Vibrams to mimic bare feet and using grey camo undershirts to mimic zombie skin on extremely holey clothing!
TRIGGER WARNING: Blood, Gore, Zombies
Impalement Rig
This charming gentleman was supposed to look like a taxidermy project gone very wrong. The harness he wears over his undershirt is what we call a “Steve Martin Rig” - it has points of attachment on either side of the body to mimic an impalement. The harness is fabricated by the special effects department out of aluminum and carbon fiber. Each horn screws into a dowel on the rig. The special effects supervisor and I fit him in it and decided on modifications to the harness and his costume based on the fit. This costume had so many pieces that it took an entire hour to put on and I actually had to sew him into it when we shot!
Decapitation Rig
We used the same rig for all head-based injuries, whether it was a head exploding, getting chopped off or, like in this case, being skewered and popped off. Truly horrific, but extremely interesting from a technical perspective! This is the costume where we discovered we always needed a button-front shirt for any head-related rigs because they can’t put it on over the head. The shirt had to be about three sizes too big in order to accommodate the rig, which was a fake head and shoulders that sat on the upper back of the actor. He would put his head forward and the fake head would be wearing the shirt from the neck up.
Propeller Impalement
Another example of a Steve Martin Rig. We learned the hard way on this one that we should always use button-front shirts for rigs like this because it’s nearly impossible to get this over someone’s head. This was a close collaboration with special effects and makeup effects. As you can see on the bottom right, the shirt is much less aged in our test. When we shit, I added more holes, dirt and blood, while makeup effects added some guts to cover the edge of the propeller that touched his chest.
