Gallery and Archival Research
My practice sits at the intersection of fashion research, curation, and cultural storytelling. Through a series of gallery projects, ongoing research with Parsons Paris, and collaborations with museum spaces (ALAIA FOUNDATION, Palais Galliera, I explore how fashion holds and communicates history, identity, and beauty. I’m especially drawn to the intricacies of preservation and the ways we can honor garments not just as objects, but as carriers of cultural memory. Much of my work happens in collaboration (with peers, teams, and institutions) where we collectively build visual analyses and layered narratives that lead to rich, multimedia outcomes. At the heart of it all is a deep respect for the stories fashion tells, and a commitment to sharing them in ways that are thoughtful, dynamic, and visually compelling.
Is it Fashion or is it Spectacle: Alaia Foundation
In an attempt to evaluate Mugler’s museum presence, we found that his work refuses to align with just one category. His creations insist that fashion can be both a site of structure and drama, fantasy and performance. By celebrating both classic suiting and Fashion spectacle, we begin to understand the full complexity of Mugler’s heritage and legacy, which is closely tied to that of his good friend and fellow designer, Alaïa. Through visual elements presented and insights gained via archival research within the Alaïa archives, we build an understanding of how Mugler, as a designer, formulates a dichotomy within the fashion image as presented in a museum or archive context.
Slacks and…Institutional Critique
Slacks and… Institutional Critique is an installation that reinterprets René Bouët-Willaumez’s 1939 Vogue illustration Slacks and Skirts for Country Living, archived by the Palais Galliera, through the lens of fashion studies and historical critique. Drawing on Fred Wilson’s Mining the Museum, the work examines three central archetypes (The Woman, The Horse, and The Lad) to uncover overlooked narratives of labor, class, and race embedded in elite equestrian culture. Combining archival imagery, editorial analysis, and film clips from 1930s Hollywood, the installation questions the institutional framing of fashion history, particularly how slacks, once emblematic of leisure and modern femininity, were used to sell a lifestyle shaped by privilege. By mirroring Wilson’s techniques of image disruption and contextual reframing, this project critiques the aestheticized lens through which fashion museums often present historical materials.
