I am excited to announce that I will be guest blogging on my favorite fashion essay blog “Ironing Board Collective” for the next two months starting this Friday.

Stay tuned because I will be posting pieces that I have been writing on style & identity as I have been developing this project, posting stills and maybe a teaser video or two.




Here are much belated photos/ still from NY Fashion Week.

Me and Georgie Badiel at F4D event.

Georgie on the runway at Zang Toi.


I have been so busy logging and editing, I haven’t even acknowledged the SWAP benefit I had last fall to get the gear that allowed me to get back into shooting.

Last fall, my lovely friends Kathryn,Vandana and Erin helped me arrange a clothing swap at The West Cafe in Brooklyn.

Special thanks to Leo Ferguson, Jeremiah Stewart, and Lauryn Siegel for DJing and thanks to Milica Petrovic for filming while I hosted and swapped !


Here is an iPhone still from BE: The Future of Fashion at the Greenspaces Co Work in NYC.

My head is buzzing from the information and the fact that I just booked six more interviews to do before the end of the year.

Fun fact I learned tonight: Levis 501s are constructed in exactly 14 minutes.




” Cutting structure language, but also clothing. It is an intervention into the traditional convention of representing & seeing a body or thing and thereby produces a new sensation.

Cut of scissors is like a click of a camera. Like a stroke of a paintbrush. All these acts decisively isolate a form of representation. Marking a surface that generates a reality.”         – Germano Celant



Last week, I had the pleasure of filming a symposium at the New School called “Inclusive Fashion Practices” led by Pascale Gatzen. Speakers included Saskia van Drimmelen and Margreet Sweerts of Painted, Otto von Busch,Laura Sansone, Gabi Asfour of threeasfour, Caroline Woolard, Huong Ngo,Frau Fiber ,Michael DiPietro ,Elisa Van Joolen, and Athena Kokoronis.

It was a utopic scene with bright eyed sweet faced people in self made creations sitting on the floor listening as they ate radish and butter sandwiches until it was time for everyone to cut and sew together.

Here are some stills :

“Painted” sewing

Flying frocks.

A still from Michael DiPietro’s presentation from “Fashion   ReDesign.

Me making my Hitchcock appearance in Michael’s presentation.

Gabi’s presentation.

Asking the big questions.


This film has been a fantastic way to start conversations with strangers.

One day, I was on the L train to film my friend Richard. I was staring at the ground, making a mental outline about what I wanted to talk about in our interview, when I noticed that the man sitting across the aisle from me had copper string lacing up his boots.

It was so subtle and beautiful I just had to ask why he did it.

And then Isaac proceeded to tell me about the day his laces broke and he had some of this copper string in his studio (he’s a sculptor) so he just decided to see it would hold together until he could pick up new laces at the Rite Aid.

The copper laces held up.

He began to tell me how they made these boots feel more special to him.

And then it was my stop.

In our brief exchange, we exchanged emails and the very next day, I got a note from him with pictures he took of his boots when he first laced his boots up.

He thanked me for confirming his enthusiasm.

It was so heartwarming to me because so many times when I talk about SWAP, both women and men tell me how the film will really only appeal to women because a lot of men won’t see themselves in these portraits.

And that’s when I smile and nod and just think to myself, “Only the ones that aren’t more like Isaac.”


My friend Rose really wanted me to tell this story in my crowd fund video but I felt it would be better as a blog post.

Its the story of my prom dress.

It was a full length cream dress with a beaded bodice and covered with a silver netting. I found it at the bottom of a bin in a Goodwill in Stamford, CT.  I don’t think I paid more than 12 dollars for it.

Here is the only picture I have from that night:

At the time, I remembered how it really shocked everyone that I would actually “choose” to wear a used dress. Now, it seems sort of insane (when Martha Stewart’s television show is doing segments about vintage chic) but it was a different time. Thrifting had a subtle subversion to it and I really loved it for exactly that reason.

As a teenager, how I dressed and the time I put into constructing or “deconstructing” fashion (this was the era of grunge), was a direct reaction to growing up in lower middle class in an extremely wealthy town. My entire life was a constant compare and contrast of what it meant to have, and how I simply did not.

Not to be so woe as me about it, my family was actually just normal.

I was just exposed to a very extreme reality that definitely has left an imprint on me of being hyper aware of class dynamic which now I am grateful for.

Because now, in retrospect, my embrace of the thrift was an act of resistance.

With the inspiration of 90’s independent spirit bubbling from Sassy magazine and watching Sofia Coppola/Spike Jonze throw renegade fashion shows on “House of Style”, I wasn’t going to feel “less” anymore.

I made the act of getting dressed an art project and the “hunt” was the beginning of a type of practice and activism because it felt anti capitalistic to put my disposable video store clerk money to that than to the Gap.

The phenomena of teenage girls, like Tavi Gevinson, blogging about style choices, makes sense to me because I feel like the action is really more about self actualization and discovering the boundaries of that at a young age.

But I digress.

When I was a teenager, I was really into thrift store shopping and I was really into writing.

My fiction at the time was basically thinly veiled re-tellings of what me and my friends were doing on the weekend. Getting drunk in our basements, hanging out in parking lots, etc.

Once again, another teenaged practice of establishing, “I’m not like you, but I am kind of ok with it.”

But then something happened the night of my prom.

I was washing my hands in the bathroom, and a pack of the most popular girls came in. I never talked to these girls, not out of any real vengeance, but more of that weird reality that high school creates where even though you see each other every day of your lives, the hierarchy of the clique is the dictate of who you will actually acknowledge.

So I didn’t say anything. And then I heard a voice from behind me say, ” I really like your dress.” I thanked the girl and kept washing my hands. I started to feel a little nervous. These girls never spoke to me and now they were all surrounding me, fixated on my dress.

Visions from “Carrie” were dancing  in my head.  And they just stood there though staring at me.

Another girl said, “I never would be allowed to get a dress like that.” and that was when I really got scared because it just felt inevitable that this “complement” would take a twist.

I just stood there mute, and who knows with what kind of expression I had on my face.

Then the one who first complimented my dress (her name was Danielle) said, “I love your stories. When you read them in class, I feel like you are telling the stories of my life.”

They all started to agree.

It completely put me into shock. I don’t know if I even remember thanking them.

I did proceed to escape right after that but it was all kind of a blur.

The stories of my life were the stories of her life ?

I simply couldn’t comprehend it.

On top of that, the connection I felt in that moment, was the feeling that I think I am constantly striving to feel again with anything I make.

Usually when I have told this story before, I usually just talk about that and why I became an art maker but with regards to this project, it feels relevant to talk about the dress.

The conversation might not have started if it hadn’t been for the dress.


I mean, really, how does one tell their story in clothes ?

If you really think about it, we all do. Every day, by putting them on.

But to make a movie about anything, the why has to be so much deeper than that.

You have to love the subject or find a thread in it that you’ll die if it doesn’t get told.

In this one, the word that keeps coming up is audacity. 

To explain this best,  I have to show you my hands…..

This ornate manicure happened because I was a little overwhelmed.  My friend Roseanne who always has beautiful ornate manicures told me once that getting her nails done was a great stress reliever.

So, with that inspiration, I went to my neighborhood manicure ladies and asked for “the works”.

After about 45 minutes of applying the tips and sculpting them, I has told my manicurist, (also named Cat), about my upcoming week and she told me when it was time to get painting, “I think you need butterflies because you’re kind of a butterfly this week. You’re about to spread your wings.”

To some, simply dime store psychology but to me, an eternal fan of the metaphorical, I said ok.

All week, those butterflies made me smile and were great conversation pieces.

A little bit of shooting also was happening( hence the chips ) that eventually occurred from lugging gear from point A to B.

I chose to photograph them before getting them removed because my hands were a constant reminder to me what this film is about.

I do this first out of homage to Agnes Varda, (the patron saint to all lady filmmakers), for that moment in The Gleaners and I, when she turns the camera on her own hands and compares her hands to the potatoes that the gleaners scrounge around for.

In doing this, she ‘discovers’ that she, too is a gleaner. Those hands, with the camera, glean for the stories to make the pictures, to make the films. This is her life’s work. And this tiny rupture, this ‘fourth wall’ demolition that performs by changed my life.

When I think of the three films that inform the direction that I am going with in SWAP, I think of Gleaners and I, and I think of San Soleil by Chris Marker in how he quietly exposes a new video game culture within the context of exploring a foreign culture in (at that time) modern Japan as well as Wim Wender’s Notebooks of Cities and Clothes. (Thank you Molly Gochman for getting that film into my hands !)

So, back to my hands, all those films are simply a filmmaker exploring a world in which they find an affinity and my intention with this film is to do the same.

The world of clothes and the people within it are individuals who refuse to accept what the world has decided they should be.

I relate to this because there is a certain amount of audacity required in making a film (or essentially anything) when no one is asking you to it. This level of audacity is I don’t think so far from most of the subjects who invest the time and energy to define who they are by their style and create spaces (virtually and not) so others can have that space.

The decaying butterfly murals on my hands remind me of this. They remind me who I am making this for, they remind me who I am.

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