Before a garment becomes form, it begins as texture, shape, history.

In this piece, I explore how deadstock fabric—often overlooked or cast aside—becomes the source material for both capsule collections and underwater costume. Two worlds. One practice. A thread carried between surface and depth.

This story is woven in both word and image. Visual collaborators featured in the full Substack story include:

Title image: Annika Ross in a Monet-inspired floral print deadstock silk chiffon flounce blouse. Photo by Jenn Spain.

Land: Capsule Collections & Studio Cuts: Annika Ross in a deadstock tropical print silk chiffon skirt and upcycled plaid bustier. Photo by Jenn Spain.            

Coat Capsule: Aduta Atem in a deadstock wool hooded coat. Photo by Ruben Domingo

80's Girls: Deadstock dupioni silk skirt and suede top I made in the ’80s, worn with a wide vintage leather belt from my line. With my cousin Anita.

Velvet Glam: Brookelyn Elizabeth in a deadstock silk velvet slipdress with a silk fringed capelet from my archive. Photo by Ruben Domingo

Water: Designing the Submerged Form: Arlondrea Lenyea and David Shepherd in underwater Grecian costume a created from sheer deadstock fabrics and sequin. Photo by Cheryl Walsh.

Why It Matters: Hanna mermaid in the Daniela bodysuit and fluttery skirt. Photo by Justin Lutsky.

Limited edition and one of a kind archive: 

Shop my capsule collection of deadstock skirts, dresses, and blouses at The Canvas Oculus, beginning September 1.

As I continue to evolve the collection, I’ve placed select one-of-a-kind pieces on sale. Shop the sale link here.

"If this glimpse speaks to you, the full reflection is on Substack.”  Alchemy of Deadstock: Designing Land and Sea

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Stories of land, love, and eco-fashion—rooted in memory, made with care.
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