This was the beginning of everything that followed.
This was the beginning of everything that followed.
Once Upon a Time in Milan marks my first professional step in Italy—presenting and selling my work within an established fashion context. Working with Pierre Cardin fabrics, silk, satin, and early Klopman remnants, I developed garments that were precise, reduced, and focused entirely on form.
Black and white was not only an aesthetic choice—it was a way of returning to clarity, allowing construction to speak for itself.
What remains is the intensity of beginning, and the quiet feeling of entering something new. Photographed in Italy, the images carry a personal layer that continues to shape the way I remember this work.
Some beginnings define not what we know, but what we are about to discover.
Once Upon a Time in Milan marks my first professional step in Italy—presenting and selling my work within an established fashion context. Working with Pierre Cardin fabrics, silk, satin, and early Klopman remnants, I developed garments that were precise, reduced, and focused entirely on form.
Black and white was not only an aesthetic choice—it was a way of returning to clarity, allowing construction to speak for itself.
What remains is the intensity of beginning, and the quiet feeling of entering something new. Photographed in Italy, the images carry a personal layer that continues to shape the way I remember this work.
Some beginnings define not what we know, but what we are about to discover.
