Issue link: https://digital.copcomm.com/i/1531371
villain and her name is Bjayzl, you're just gonna love her' and she brought a mood board full of these aquatic spiny references and it was wonderful. I think what we came up with was ephemeral yet fierce. She was just so elegant and prey, but she was evil." Dorothy utilized Rigilene to create her sheer dress with an Elizabethan collar-structured cloak. "You can manipulate Rigilene far past its conventional usage as boning for corsets. I was experimenting with giving her shoulder structure but still keeping it delicate and also adding interest." She created individual Rigilene spines as 'boning' in polyester voile with double-needle sewing with her Bernina 1130 machine. "On the public side, all you see is neat parallel stitching lines alongside the spine. But the backside reveals that the bobbin does all the heavy liing, zigzagging, and thus encapsulating the spine in a channel. I use double-needle sewing on every show, it's a game-changer!" The organza of the costume also has a vertical bifurcated design and Dorothy created this by using a heat press "to laminate it to the back of some gold vinyl with HeatnBond: Ultrahold. I then cut out the paern, then peeled off the paper backing. I then laminated it onto the poly- organza (heat press again). You can also laminate it onto silk organza, but the poly offers you opportunities to play with melting intentional holes for an additional design factor." Aer an extensive career creating a library of samples and prototypes, Season 3 of Star Trek: Picard was Dorothy's last production where she built her final two pièce de résistance costumes: the Borg Queen and Vox. "The Season 3 Borg Queen was a coming together of three departments: set, makeup, and costumes. Our Costume Designer Michael Crow wanted me to create a corset that would hold a cacophony of tubes, yet not get in the way of the amazing SPFX makeup that Neville Page and Vincent Van Dyke's shop had created. I also had to blend with the vibe that production designer Dave Blass had built for the set. Fortunately, the Queen's lair was literally right outside my workroom, so I could easily pop out the door to get inspiration. Michael Crow explained that this version of the Queen had to be integrated into the Cube and our costume would be in support of the SPFX makeup. So, the tricky part is to figure out where one department's 'real estate' ends and when ours begins. I started with making an English coutil corset that extended almost to the top of her shoulders in the back. That's problematic, as there's nothing to keep it from pulling away from her body. I resolved it with 'onioning' Rigilene boning, stacked on top of one another. Aer a few fiings with prosthetics and figuring out the marriage of the set piece, I knew where to cut away and where to add." When adding the Borg Cube tubing that unites the set and the costume, "The easiest way would be to use that styrene casing that you hide cables with (and believe me, I utilized various sizes of it). But that's also very recognizable, so I had to come up with more intrigue. I started with my favorite go-to, tubular horsehair braid of different sizes. From there, I asked our amazing sourcer, Elise Drozdowski, to find me any lightweight synthetic knits with intentional regimented holes and ribs. Then I sewed miles of fabric tubes in grain, cross-grain, 26 SPRING 2025 Necar Zadegan as Bjayzl, a villain from Season 1, Star Trek: Picard.