My name is Lily Greenslade, and I am a costume maker and interpreter. I specialise in transforming garments from concept to reality, combining practical making skills with in-depth historical research. I consider myself a creative practitioner working at the intersection of costume construction and storytelling, where garments are not only worn but understood within their cultural and historical context.
I am motivated by a desire to continuously develop my craft and expand my technical knowledge. I value authenticity, precision, and attention to detail, particularly when working with historical garments. This drives me to explore traditional techniques such as hand embroidery and period-accurate construction methods.
As an interpreter, I care deeply about the narrative behind each costume. I am interested in how clothing reflects identity, status, and social context, and I use research to inform every stage of my process. My aim is to create garments that do more than replicate history visually—they communicate character and story, allowing both wearer and audience to connect more deeply with the past.
My work focuses on the creation of historically informed costume, with particular emphasis on tailoring and close-fitting garments. I specialise in constructing pieces that accurately reflect historical silhouette and structure, often beginning with undergarments such as 18th-century stays to build a foundation for outerwear. My practice combines technical garment construction with detailed research into historical dress, allowing me to produce work that is both authentic and functional.
I work across both feminine and masculine historical dress. Projects have included the making of 18th-century undergarments and a 17th-century doublet, which I designed, constructed, and hand-embellished with embroidery. These experiences have strengthened my ability to adapt techniques across different periods and garment types while maintaining historical accuracy.
My process typically begins with research into the social, cultural, and historical context of a garment. I analyse silhouettes, materials, and construction methods before translating a two-dimensional reference—such as a painting or design—into a three-dimensional, wearable piece. Fitting is a key part of my practice, as I aim to tailor garments closely to the wearer’s body, ensuring both accuracy and comfort.
My target audience includes performers, historical interpreters, and individuals involved in reenactment or cosplay who seek high-quality, period-accurate costume. My goal is to help transport both wearer and audience into a specific time period through carefully crafted garments.
My recent work has focused on a project inspired by Marie Antoinette, based on the painting Marie Antoinette with a Rose. This involved recreating her appearance by constructing a historically accurate robe à l’anglaise. Through this project, I developed a deeper understanding of 18th-century silhouette, materials, and construction techniques, reinforcing the importance of research-led practice in bringing historical figures to life.