Reforged and Rewoven turns metal, stone, and fabric into unapologetic expressions of self.

Materials carry history. Vintage garments, found objects, and raw materials are not blank surfaces, but things already shaped by time, use, and context.

Transformation does not erase what came before—it adds to it. Each piece holds multiple states at once: what it was, what it has undergone, and what it has become.

In jewelry, hand-collected stones carry a record of geological formation, fracture, and encounter—histories shaped long before they are found, and continued through selection, setting, and wear. Copper, too, continues to change after it is formed; it develops patina through contact with air, skin, and time, shifting in tone and surface as it is worn. This aging is not treated as degradation, but as part of the piece’s ongoing life.

In garments, only natural fiber fabrics are used for both creation and alteration, supporting material integrity and environmental responsibility. These materials are biodegradable, more easily repaired and reworked over time, and do not carry the same long-term persistence as synthetic textiles. They are cut, mended, and restructured through repair and reconstruction, responding to wear by softening, shifting, and recording use rather than resisting it.

Across both, materials are continuously reworked rather than fixed. Each piece exists through a process of becoming, shaped by touch, time, and intervention, and remaining in ongoing relation to the materials it came from.

Electroforming is a slow process of transformation where metal is grown rather than directly shaped. Copper is drawn from a conductive solution through electrical charge and gradually deposited onto a prepared surface, forming a continuous layer that follows and records every contour, indentation, and irregularity beneath it.

What begins as something fragile or organic is slowly translated into metal through accumulation over time. The process is set in motion by design, but it is not fully controlled in its outcome. Chemistry, current, and duration work together in ways that cannot be precisely dictated, allowing the material to respond, shift, and develop its own variations as it forms.

In this way, electroforming holds an alchemical quality—not as mysticism, but as a practice of transformation through partial release of control. The maker establishes structure and conditions, then allows the material to complete part of the work itself. Copper does not simply cover a surface; it records it, amplifying texture and asymmetry as it grows. The result is not a fixed reproduction, but a changed state of material—shaped through both intention and surrender to process.

All work is designed in relation to the body it will be worn on, not to fixed categories, standardized sizing, or predetermined forms.

Bodies are not static. They change through aging, weight fluctuation, transition, and the ongoing conditions of living. These shifts are not treated as deviations from a “correct” size, but as natural variations that design must account for over time. Garments and wearable objects are constructed to move, adjust, and respond.

Fit is not about correcting or categorizing the body—it is about respect for each person’s body, identity, and lived experience. Garments and jewelry are made to respond to the body as it is, not to a standardized idea of what it should be. Wearability supports comfort, expression, and alignment between identity and appearance. This approach is grounded in inclusivity and care, so the work can be worn in a way that feels accurate and affirming to the person wearing it.