Work

Selected work

Not galleries. Cases. For each one: the problem I walked into, the story we had to tell, the calls I made, and what came out the other side. The pictures are proof. The thinking is the point.

01Enterprise · Visual strategy

Making an everyday brand feel intentional

The problem: A Fortune 1 retailer needed one fashion point of view across campaigns, store floors, and every place a customer sees it.
The story: Everyday doesn't have to mean afterthought. I wanted the clothes to look chosen: aspirational, but never out of reach.
What I did: Set the visual language, directed how looks read on the floor and on camera, and guided teams across merchandising, marketing, and production.
The result: Execution that holds the vision at scale. Led, not just staffed.

I keep the specifics generic out of respect for my employer. The detail comes in conversation.

02Cultural commentary

The office dress code, after it broke

The problem: Offices reopened and nobody knew what "professional" meant anymore. TIME asked me to explain it to a national audience.
The story: A suit used to signal money and seriousness. After 2020 that signal broke, and it never read the same for everyone wearing it.
What I said: "You would assume someone wearing a suit has a lot of money. Now that's been flipped on its head. The guy in the hoodie makes just as much, or maybe more."
The result: A point of view on dress, identity, and perception that people still repeat back to me. The seed of a keynote.

Read the full idea →

03Editorial · Art direction

Styling as a mini-play

The problem: An editorial page is blank until someone decides what it's about. At Glitter and Ladygunn, that was my call, as stylist and art director both.
The story: I treat a shoot like a role. What story are we telling, who is this person, and what do the clothes do to them?
What I did: Ran concept, mood, styling, and art direction as one authored point of view, not four separate jobs.
The result: A method I still use, narrative first, now scaled from a single spread to a national campaign.

04Celebrity · Red carpet

The look that gets photographed

The problem: On a carpet or a cover, the image is the whole message, and there's exactly one chance to get it right.
The story: I dress the person, not the trend, so the look says something true about who they are and where they're headed.
What I did: Sourcing, fittings, and on-the-day calls under real pressure: the clock, the fit, and the cameras waiting.
The result: Work for Macy Gray, Skai Jackson, Norman Reedus, Keesha Sharp, EJ Johnson, and Garcelle Beauvais, plus covers including Sheen.

The Archives

A decade of execution.

Celebrity, editorial, commercial, red carpet. The point of view above is earned, and the archive is the work it is built on.

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In motion

On the floor

A window has three seconds to stop someone. Styling it is deciding what makes them look twice.

I take on a few brand projects at a time.

Creative direction, visual strategy, and campaign work for brands and agencies.

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