She began by assisting costume designers on opera productions, notably at the Aix en Provence Festival, staged by Katie Mitchell, Christopher Alden and Peter Sellars.

In parallel, she signs her own costumes on various scenic and cinematographic projects. She participated in several La Fémis projects. And is a creative associate with the director Laurent La Rosa that she accompanies in its filmic and advertising projects, in particular for the campaign Myrtle Beach National in the United States, and more recently for the UFO clip of Fictions.

For the stage, she signed her first costumes for Jean Bellorini in a musical play for the Aix en Provence Festival.

It is in Aix that she made the meeting of Vincent Huguet with whom she collaborates since regularly. In particular, Encor on the pavement rings my nocturnal pitch, for the Festival d'Aix, created in 2014; Love I obey, with the singer Rosemary Standley created at the National Scene of Alençon in 2015, picked up at the Philharmonie de Paris and touring all over France; then in 2016 at the Opéra de Rouen with Poème Harmonique, at the Opéra de Bordeaux for Don Quixote's Travels in 2016 and then La vie parisienne in 2017, but also with Ensemble Correspondances to stage the Sacred Stories of Carpenter ; and for a Massenet Werther at the Stadttheater in Klagenfurt, Austria in 2017. They will be together at the Staatsoper in Vienna in 2019 for Strauss's Die Fraue Ohne Schatten.

She has also collaborated with the director Ted Huffman, of which she co-signed The first murder, a creation of Arthur Lavandier with Le Balcon at the Lille Opera in November 2016. As well as with Philippe Béziat and Florent Siaud for Pelleas and Mélisande at the Opéra de Bordeaux in January 2018. And recently with Eric Oberdorf for the creation of the last Aix Festival, Seven Stones by Ondrej Adamek.

What is essential in his approach to the costume is the purpose he must serve, that of a director or a director who tells a story. Her work and research is motivated by the fact that the costume, as well as the set, must support this story, and allow the viewer to understand and immerse themselves in a context or atmosphere.

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