SANA EGBE ACADEMY
BEYOND
TECHNIQUES.
Fully Online.
Registration Now Open.
Sana Egbe Academy is the educational expression of the House — created to share the design intelligence, techniques and commercial thinking behind exceptional figure skating costume design.
01 — THE ACADEMY
CRAFT CAN BE TAUGHT.
VISION CAN BE DEVELOPED.
The Sana Egbe approach to costume design has never been built around decoration alone.
It begins with understanding the body. Movement. Proportion. Colour. Material. The relationship between every element — and the ability to bring them together with intention.
The Academy opens that process. But it also goes beyond the atelier.
Because creating exceptional work and building a successful creative business are two different disciplines.
Here, we teach both.
THE FOUNDING EDITION — TALLINN, 2026
Founded in Tallinn. Built to go beyond it.
The first Sana Egbe Academy Masterclass was held in Tallinn, Estonia, in April 2026 — an intimate Founding Edition dedicated to design intelligence, craftsmanship and the business of creative authority.
The next chapter opens the Academy worldwide.
02 — THE FLAGSHIP PROGRAMME
THE COMPLETE MASTERCLASS
5 DAYS. TWO DISCIPLINES. ONE COMPLETE SYSTEM.
4 DAYS
Design Intelligence
with Sana Egbe
1 DAY
Creative Business Mechanics
with Okey Egbe
LIVE ONLINE · WORLDWIDE · VIA ZOOM
Five intensive days exploring the complete creative and commercial architecture behind professional figure skating costume design.
LIVE INSTRUCTION
Real-time teaching and discussion.
STUDIO DEMONSTRATIONS
Exclusive pre-recorded close-up demonstrations supporting the live teaching.
VISUAL STUDIES
Detailed slides, photographs, examples and analysis.
03 — THE CURRICULUM
FROM VISION, TO EXECUTION.
01 DESIGN INTELLIGENCE
Body Visual Harmonisation
Proportion & Visual Correction
Design Composition
Colour Intelligence
Skirt Architecture
Movement & Performance
Developing the Complete Design
02 TEXTILE ARTISTRY
Fabric Painting
Airbrush Techniques
Appliqué Integration
3D Appliqué Construction
Dimensional Flowers
Chiffon Architecture
Sculptural Ruffles
03 CRYSTAL ARTISTRY & PRESENTATION
Artistic Crystal Painting
Crystal Colour Intelligence
Placement & Density
Visual Flow
Combining Techniques
Finishing the Costume
Photography & Presentation
04 THE MECHANICS OF BUSINESS GROWTH
Brand Positioning
Pricing & Perceived Value
Social Media & Content
Selling Creative Work
Client Experience
Competition & Copying
Media & Reputation
International Business & Delivery
Building Creative Authority
EXPLORE THE COMPLETE CURRICULUM +
DAY 01 — DESIGN INTELLIGENCE & BODY HARMONISATION
Before you design the costume, you must learn to see the person.
Great design does not begin with crystals, appliqués or even a sketch. It begins with observation.
Day One explores the intelligence behind designing for an individual body — how proportion, movement, programme and visual perception influence every decision that follows.
The objective is not to memorise what works for a particular body type. It is to develop the ability to see, diagnose and design intentionally.
Understanding the Body
The body is not a mannequin.
Reading individual proportions · Understanding body types without designing by formula · Posture and physical nuances · Identifying visual imbalance · Recognising what should be emphasised, softened, lengthened or visually restructured
The Art of Observation
How to obtain and analyse useful athlete references · Eye-level photography · Understanding photographic distortion · Reading the body before drawing the first line
Body Visual Harmonisation
Design can change what the eye perceives.
Visual correction principles · Creating balance through design · Strategic lines and cuts · Direction · Proportion · Positive and negative space · Using design architecture to guide the eye
Rather than prescribing fixed solutions, participants learn to ask:
What am I seeing?
What do I want the eye to see instead?
What design decision can take me there?
The Architecture of the Costume
Every line communicates.
Necklines · Collars · Sleeves · Open and closed backs · Waist placement · Bodice architecture · Cut and direction · Understanding how one decision changes the perception of another
The objective is not to assemble beautiful elements.
It is to make them belong to one idea.
Skirt Architecture & Movement
A skating costume is not designed to stand still.
Placement · Length · Proportion · V-structure · Relationship between bodice and skirt · Movement · Rotation · Understanding how the silhouette changes once the athlete enters the ice
Colour & Composition
Colour as structure rather than decoration · Contrast · Placement · Visual hierarchy · Relationships between colours · Using colour to support proportion, mood and movement
From Programme to Design
Music is heard. Design must translate it into something that can be seen.
Interpreting mood, character and programme · Translating abstract ideas into visual language · Developing a coherent costume concept · Recognising when a design is beautiful but wrong for the programme
The Designer’s Eye
Real design analysis · Common mistakes · Before-and-after visual corrections · Understanding why something works rather than merely recognising that it does
Day One is ultimately about developing something no material can give you: judgement.
PRACTICAL STUDY — THE DESIGN INTELLIGENCE CHALLENGE
Participants apply the principles of the day to a shared athlete reference and programme brief — analysing the body, identifying visual objectives and developing a considered design direction. Selected studies are examined live with Sana, turning individual decisions into learning for the entire class.
DAY 02 — MATERIAL, COLOUR & SURFACE TECHNIQUES
Fabric is not simply where the design is placed. Fabric is part of the design.
Day Two moves from seeing and designing to manipulating the surface itself.
Participants explore how material, colour, transparency, paint and airbrush can transform an otherwise flat foundation into something with depth, atmosphere and movement — before a single crystal or appliqué is added.
Material Intelligence
Different materials speak differently.
Stretch · Weight · Transparency · Movement · Mesh · Illusion · Layering · Selecting materials according to what the design needs them to do rather than simply how they look
Understanding how material choices affect colour, silhouette, embellishment and movement.
The Behaviour of Colour
Colour changes when the material beneath it changes.
Transparency · Layering · Base colour · Saturation · Contrast · Colour interaction · Testing · Building depth · Understanding why the same colour can behave differently across different fabrics
Fabric Painting
Painting fabric without making it look painted.
Preparation · Paint behaviour · Application · Building colour gradually · Creating transitions · Depth · Highlights and shadows · Maintaining the character and flexibility of stretch material
The Art of Airbrush
Airbrush as a design instrument rather than an effect.
Control · Distance · Pressure · Direction · Masking · Gradients · Shadows · Highlights · Soft transitions · Creating dimension · Knowing when airbrush should be visible — and when its success lies precisely in not being noticed
Surface Architecture
Painting and airbrush do not exist independently of the design.
Participants explore how surface treatment can reinforce lines, alter perception, create depth and prepare the visual foundation for the textile and crystal work that follows.
The objective of Day Two is not simply to colour fabric. It is to learn how to give a surface character before embellishment begins.
PRACTICAL STUDY — SURFACE DEVELOPMENT
Working on a small fabric sample, participants explore colour and surface treatment through a focused painting or airbrush study — translating the principles of material, transition, depth and control into practice. Selected studies are analysed live.
DAY 03 — APPLIQUÉ, 3D CONSTRUCTION & TEXTILE ARCHITECTURE
Decoration should never look as though it arrived after the design.
Day Three explores one of the defining distinctions between decoration and integration.
Appliqués, flowers, chiffon and dimensional elements are treated not as additions placed onto a costume, but as materials that can be dismantled, reconstructed and absorbed into its architecture.
Appliqué Intelligence
An appliqué is a material — not an instruction.
Understanding different appliqué types · Scale · Direction · Motif · Proportion · Selecting elements according to the design rather than allowing the purchased appliqué to dictate the result
Exquisite Appliqué Integration
Do not ask where the appliqué should be placed. Ask what it can become.
Cutting · Separating · Reconstructing · Extending · Layering · Redirecting motifs · Continuing existing design lines · Creating visual flow between appliqué and garment
Moving beyond the recognisable “appliqué placed on a dress” appearance.
The Third Dimension
Flatness versus volume · Building depth · Layering · Raising selected elements · Creating dimensional compositions without unnecessary bulk · Understanding how volume behaves from different viewing angles and in movement
Dimensional Flowers
A flower does not have to remain a flower. It can become architecture.
Construction · Shape · Layering · Organic irregularity · Scale · Placement · Clustering · Movement · Integrating floral elements into the larger composition
Chiffon Architecture
Chiffon beyond the skirt.
Transparency · Direction · Layering · Soft volume · Movement · Creating architectural forms from a material naturally associated with fluidity
Sculptural Ruffles
Creating controlled volume · Scale · Direction · Placement · Movement · Building drama without overwhelming the athlete · Integrating ruffles into the silhouette rather than attaching them to it
The Discipline of Restraint
More technique does not automatically mean more design.
Combining appliqué, flowers, chiffon, colour and dimensional elements · Establishing hierarchy · Giving different elements different responsibilities · Recognising competition between techniques
And perhaps the most difficult decision:
Knowing when to stop.
Day Three is about transformation — taking recognisable materials and making them feel as though they could only ever have belonged to that costume.
PRACTICAL STUDY — TEXTILE TRANSFORMATION
Participants take a conventional textile element and transform it through reconstruction, integration and dimension — moving from something applied to something that feels inherently part of the design. Selected studies are examined with Sana.
DAY 04 — CRYSTAL ARTISTRY & COMPLETE COSTUME EXECUTION
Crystal is not simply decoration. In the right hands, it becomes a medium.
Day Four enters one of the most recognisable territories of figure skating costume design — and challenges the assumption that more brilliance necessarily creates more beauty.
Participants explore crystal not as something applied after the costume is finished, but as another visual language capable of creating depth, direction, light, hierarchy and movement.
Understanding Crystal
Before placement comes behaviour.
Size · Cut · Colour · Effect · Transparency · Reflection · Base fabric · Lighting · Distance · Understanding why the same crystal can produce completely different results in different environments
Crystal Colour Intelligence
Matching versus complementing · Reflection · Neighbouring colours · Transparency · Tonal relationships · Using crystal colour to extend, interrupt or transform the colour beneath it
Artistic Crystal Painting
What if crystal could be used like pigment?
Density · Gradients · Highlights · Shadows · Transitions · Focal points · Building luminosity · Creating visual depth through changes in size, concentration and colour
The objective is not simply to cover a surface.
It is to paint with light.
Crystal Flow
The eye moves before the body does.
Direction · Rhythm · Placement · Visual pathways · Reinforcing garment architecture · Using crystal to continue lines already established by colour, appliqué and construction
The Discipline of Brilliance
Not every empty space needs to shine.
Hierarchy · Density · Mixing sizes and effects · Controlling visual noise · Creating moments of intensity and moments of rest · Understanding when additional crystal weakens rather than strengthens the design
The Complete Costume
The four creative days now converge:
BODY → PROGRAMME → PROPORTION → DESIGN → COLOUR → MATERIAL → SURFACE → APPLIQUÉ → DIMENSION → CRYSTAL → MOVEMENT
Participants examine how these disciplines interact — and how decisions made at the beginning continue to influence decisions made at the end.
Inside the Work
Selected Sana Egbe costumes are deconstructed from concept to completion.
Not simply:
What was done?
But:
Why was it done?
What problem did it solve?
What would have happened if the decision had been different?
This is where technique becomes judgement.
Day Four completes the creative journey — not by asking how much more can be added, but whether everything that remains has a reason to be there.
PRACTICAL STUDY — CRYSTAL COMPOSITION
Participants develop a considered crystal composition around an existing textile study or supplied design — exploring colour, density, direction, hierarchy and restraint. Selected compositions are analysed live with Sana.
DAY 05 — THE MECHANICS OF BUSINESS GROWTH
Why some businesses move, others stall — and how to diagnose the difference.
Day Five goes beyond conventional business advice to examine the mechanics behind growth — how value is perceived, attention is created, interest becomes revenue, and the customer experience feeds back into reputation and future growth.
At its centre is Okey Egbe’s Legendary Four-Point Business Wheel — a continuous framework for understanding, diagnosing and strengthening a business.
The Legendary Four-Point Business Wheel
RATING → ART OF PRESENTATION → SELLING → DELIVERY → ↻
Each point powers the next. When all four function effectively, the wheel completes its rotation and begins again. As each point becomes stronger, the wheel can turn faster — creating the conditions for faster business growth.
But weakness at any single point can create resistance, slow the wheel or stop its rotation entirely.
For this reason, businesses must continually diagnose every point of the wheel — identifying where momentum is being created, where it is being lost and what must improve.
Branding is not a fifth point on the wheel. It is ingrained throughout it — expressed in how a business is rated, how it presents, how it sells and how it delivers.
01 — Rating
How does the market value you?
The relationship between skill, influence, perception and price · The Skill vs Influence Pricing Model · Understanding perceived value · Reputation and authority · Market positioning · Recognition and social proof · Why technical skill alone does not determine what the market is willing to pay · Diagnosing the gap between your ability and your market rating
02 — The Art of Presentation
Can you turn value into attention — and keep that attention?
Presentation as a commercial discipline · Attention and the modern algorithmic environment · Creating hooks · Photography · Video · Environment · Storytelling · Visual identity · Building recognisable presentation without becoming predictable
CCP — Creative Contrast Presentation
Using unexpected environmental and contextual contrast to interrupt familiarity, create curiosity and make the presentation of a product more memorable — while remaining coherent with the brand.
CUG — Continuous Upward Graph
Why successful presentation ideas must continue to be challenged even while they are working · Understanding creative fatigue in a low-attention society · Criticising your own successful ideas · Continually developing stronger ways to earn attention without abandoning brand identity
03 — Selling
Can you convert attention and perceived value into revenue?
The fundamentals of selling creative work · Understanding the buyer · Communicating value · Pricing psychology · Inquiry handling · Building trust · Objections · Negotiation · Deposits and reservations · Protecting margin · Knowing when to sell, when to follow up and when to stop selling
The Psychology of Payment
Understanding that how a customer pays can also influence the experience of buying · Payment links versus bank transfer · Convenience versus perceived seriousness · Matching payment structure to product value, customer expectations and brand positioning · Reducing unnecessary friction without diminishing perceived value
04 — Delivery
Can you prove that the purchase was worth it?
The sale does not end when payment is received.
Product readiness · Final presentation · Customer communication · Packaging · Shipping · Tracking · International logistics · Unboxing · Attention to detail · After-sale experience
Delivery & Buyer’s Remorse
Understanding the psychological period after purchase · Reinforcing the customer’s decision through exceptional execution · Using communication, packaging, presentation and delivery to confirm perceived value · Turning a transaction into satisfaction, loyalty, recommendation and reputation
Exceptional delivery strengthens customer perception.
Customer perception strengthens reputation.
Reputation strengthens influence.
Influence strengthens Rating.
And the Wheel Turns Again.
RATING → PRESENTATION → SELLING → DELIVERY → RATING → ↻
The stronger each point becomes, the faster the wheel can turn.
The faster the wheel turns, the greater the potential momentum of the business.
The final exercise turns the framework into a diagnostic tool:
Where is your wheel slowing down?
Because growth is not only about doing more. It is about keeping the wheel moving.
PRACTICAL STUDY — THE BUSINESS WHEEL DIAGNOSTIC
Participants apply the Legendary Four-Point Business Wheel to their own creative practice or a selected case — examining Rating, Art of Presentation, Selling and Delivery to identify where momentum is being created, where resistance exists and what requires attention next.
04 — YOUR INSTRUCTORS
TWO SIDES OF THE HOUSE.
SANA EGBE
Creative Director & Co-Founder
Four days inside the creative methodology behind Sana Egbe — from understanding the body and developing the design to advanced textile techniques, embellishment and presentation.
OKEY EGBE
CEO & Co-Founder
One day exploring the commercial architecture surrounding creative work — positioning, perception, pricing, communication, clients and building a business around creative authority.
Sana teaches how the work is built.
Okey teaches how a business is built around the work.
05 — YOUR EXPERIENCE
CHOOSE HOW DEEPLY
YOU WANT TO GO.
REGULAR
€650
THE COMPLETE MASTERCLASS
All five live teaching days
Four days with Sana Egbe
One day with Okey Egbe
Complete curriculum
Exclusive studio demonstrations
Masterclass workbook
Live Q&A
90-day replay access
Certificate of completion
VIP
€1,500
THE MASTERCLASS — PERSONALISED
Everything included in Regular
PLUS
90-Day Structured Mentorship
• Private 1:1 Creative Consultation with Sana
• Private 1:1 Business Consultation with Okey
• Three Project Reviews spread across three months
• Priority Academy Q&A
• 12-Month Masterclass Replay Access
STRICTLY LIMITED
SANA EGBE ACADEMY
KNOWLEDGE SHOULD NOT END WITH THE MAKER.