Costume department
Wētā Workshop
Throughout my three years in the costume department at Wētā Workshop, I spent the majority of my time working on the Avatar series as part of Flo Foxworthy’s team (Na’vi Costume Art Director / Costume Dept HOD), collaborating closely with Costume Designer Deb Scott. Alongside this, I also contributed to a range of other projects — including several Marvel films — across both digital and practical roles. From developing costume concepts, diagrams, and tech drawings in Photoshop to hands-on workroom tasks like fabric cutting, dyeing, and textile handling, I worked across departments to help bring costumes to life from sketch to screen.
Wētā Workshop
Throughout my three years in the costume department at Wētā Workshop, I spent the majority of my time working on the Avatar series as part of Flo Foxworthy’s team (Na’vi Costume Art Director / Costume Dept HOD), collaborating closely with Costume Designer Deb Scott. Alongside this, I also contributed to a range of other projects — including several Marvel films — across both digital and practical roles. From developing costume concepts, diagrams, and tech drawings in Photoshop to hands-on workroom tasks like fabric cutting, dyeing, and textile handling, I worked across departments to help bring costumes to life from sketch to screen.
KIRI SHAWL
I was tasked with updating Kiri’s existing shawl designs (A and C) using a new texture sample (B).
Working in Marvelous Designer and Photoshop, I created a digital prototype (D), which was
approved and referenced to build the final on-screen version for the film.
Art Director: Stephen Crowe
Concept Artist: Iona Brinch
Na’vi Costume Art Director: Flo Foxworthy
Na’vi Artisans: Ria Apostolidis, Marly Doyle
I was tasked with updating Kiri’s existing shawl designs (A and C) using a new texture sample (B).
Working in Marvelous Designer and Photoshop, I created a digital prototype (D), which was
approved and referenced to build the final on-screen version for the film.
Art Director: Stephen Crowe
Concept Artist: Iona Brinch
Na’vi Costume Art Director: Flo Foxworthy
Na’vi Artisans: Ria Apostolidis, Marly Doyle
NEYTIRI TRAVEL CLOAK
Using a texture references created by the costume team , I designed a full cloak (shown in the image on the right), using photoshop, including a flat pattern for the client’s reference. To visualise the garment’s form and movement, I also simulated its drape and structure in Marvelous Designer.
Art Director: Stephen Crowe
Na’vi Costume Art Director: Flo Foxworthy
Na’vi Artisans: Marly Doyle
Using a texture references created by the costume team , I designed a full cloak (shown in the image on the right), using photoshop, including a flat pattern for the client’s reference. To visualise the garment’s form and movement, I also simulated its drape and structure in Marvelous Designer.
Art Director: Stephen Crowe
Na’vi Costume Art Director: Flo Foxworthy
Na’vi Artisans: Marly Doyle
TA'UNUI TRIBE
Using texture references and costume illustrations, I created digital samples for the costumes for the Ta’unui tribe — including the Chief and Tshaik (as shown in images), as well as a many of background characters. These designs were then passed to Wētā FX to be built into final 3D assets for the film.
Art Director: Stephen Crowe
Na’vi Costume Art Director: Flo Foxworthy
Na’vi Artisans: Jasmin Van Lith
Using texture references and costume illustrations, I created digital samples for the costumes for the Ta’unui tribe — including the Chief and Tshaik (as shown in images), as well as a many of background characters. These designs were then passed to Wētā FX to be built into final 3D assets for the film.
Art Director: Stephen Crowe
Na’vi Costume Art Director: Flo Foxworthy
Na’vi Artisans: Jasmin Van Lith
PAINT DEPARTMENT
Wētā Workshop
During my time in the paint department at Wētā Workshop, I worked across a range of film and collectible projects, specialising in costume and prop finishes. I also painted rocks, walls, dinosaurs, bees, teeth, and plants — pretty much anything plastic that needed to not look plastic. My work involved airbrushing, spray finishing, and surface treatment, supported by a solid understanding of materials, techniques, and the visual precision required at every stage of production.
HOD: Chris Hunt and Marco Wuest
Films below:
Predator: Badlands - Predators costume and weapons
Gladiator 2 - Soldiers armour
Tron: Ares - Costume
Wētā Workshop
During my time in the paint department at Wētā Workshop, I worked across a range of film and collectible projects, specialising in costume and prop finishes. I also painted rocks, walls, dinosaurs, bees, teeth, and plants — pretty much anything plastic that needed to not look plastic. My work involved airbrushing, spray finishing, and surface treatment, supported by a solid understanding of materials, techniques, and the visual precision required at every stage of production.
HOD: Chris Hunt and Marco Wuest
Films below:
Predator: Badlands - Predators costume and weapons
Gladiator 2 - Soldiers armour
Tron: Ares - Costume
