This thesis investigates how weaving, a domestic textile practice, can be transformed into a live, costumed performance that holds and reshapes experiences of bipolar emotional sensitivity. Rather than treating emotion as purely internal, the project understands feeling as something that moves between bodies, materials, and environments. It asks how a loom, a squid-yokai costume, and my performing body can make states of overwhelm, exhaustion, and relief visible in everyday spaces, and reframe emotional intensity as a form of knowledge. Using a practice-based, autoethnographic methodology, I conducted a series of 30- to 60-minute weaving sessions in private, semi-private, and public locations in Toronto and Hangzhou. In each session, I wore a white washi-paper costume inspired by the bigfin squid and Japanese yokai, with two long, expandable tentacles that exaggerated a sense of stretched, fragile reach. The loom was set up so that one continuous length of cloth recorded changes in density and structure over time. Each performance was documented through video, photographs, field notes, still images of the textile, and reflective writing. The project identifies how bipolar rhythms shape material decisions at the loom, how costume and movement externalize inner states without reducing them to symptoms, and how site changes the risks and possibilities of being visibly “not okay” in public. The outcomes show cloth and costume as emotional archives that carry traces of contact, weather, and mood, while offering alternatives to strictly medical or productivity-based views of mental health. This thesis contributes to craft studies, performance, and mental health discourse by proposing weaving as a relational, mobile space for thinking with emotional sensitivity. It suggests that slow, fragile, and repetitive practices can hold complex states in ways that invite curiosity, care, and shared reflection.