Reflections on Motherhood

On January 3rd we celebrated Eloise’s 1st birthday which, to be honest, felt more like a celebration of surviving our first year as parents. My c-section scar has nearly faded by now as my body is finally returning to a state I recognize. It is as if time is slowly erasing the evidence we used to be one. I still breastfeed Eloise when she wakes in the morning and at her bedtime, very cognizant that these are the last remaining moments of her as a “baby”. How can something that goes so slowly also go by so fast?

As I reflect back on this first year I am astonished at all the changes I had a front row seat to witnessing of what it means to be human. The way we are when we enter the world, how we instinctually know how to survive it. If Eloise could remember one thing for herself from this past year, I would hope it would be the image of her parents heads squished together as close to her face as possible absorbing every detail of her. In the first few weeks I watched her eyes slowly open and turn from deep gray blue to the sky blue they are today. I watched her eyelashes come in followed by her first tooth… and another and so on. The Saturday when she had her first laugh was one of the highlights of my life. Kevin and Eloise and I wearing silly hats doing a silly dance all laughing hysterically. What fun it was when she started to taste her first foods and the joy we have now sharing meals as a family.


I spent almost the entirety of 2019 just being a mom, helping this tiny little dependent creature come into the world. I, in turn, transitioned into a mother. In the beginning it was terrifying. Every day. I grew tired of watching Youtube how-to videos. The learning curve of baby stuff was really not enjoyable for me. Not knowing what’s normal. What’s enough? What’s too much? And always, is she breathing!? We never set up a deadline of when I would go back to work. How could I possibly know something I’ve never experienced? In the end, Eloise started creché  (French nursery school) at month 11 and I gained my days back. I felt it was time when she had developed beyond simply being a baby to eating full meals and discovering the world around her with a vivacious curiosity. I felt she was healthy mentally, physically and emotionally and ready for her own autonomy. I think giving Eloise all of me in her first year of life was the greatest gift I could give and I hope it sets her out on the right path in life and I hope I created a bond between us to last her lifetime. I feel very, very fortunate to have been able to do that, time is our most valuable commodity is it not? 

Of the beauty, seeing Kevin transform into a father has brought so much love into my heart. He found patience and strength I never knew he had. There is a tenderness and protectiveness that had been there all along dormant waiting for her, but most of all, he makes her laugh everyday. He puts in so much energy to play and connect and care for her. He’s dropped work to run home when I’ve had “all hands on deck” explosive diapers and he has not judged me when pushed to the brink of insanity and exhaustion and needed a break. He is now the one that gets up with Eloise in the morning and changes her diaper and they go make coffee together so I can have 15 extra mins of sleep. He was there, a perfect partner, 100% committed and we are the happiest little family because of that. He is a great Dad and Eloise adores him.


It was so hard in the beginning with her and yet I long for those days. To hold a baby is to hold hope, purity, innocence, and pure love. I look back at photos of her then and I just can’t believe how tiny and helpless she was. I hope I held her long enough, strong enough, warm enough… I know I did but I hope she felt it too. If I could go back and give myself some advise it would be that it’s OK if she’s the only thing I do all day (and night, lol). I felt a responsibility to cook and clean and think about work even though my brain could not function. It was totally against my nature to just “sit around” holding a baby when I’ve spent my entire life being overly productive. I feared Kevin would think poorly of me at a time when my confidence in everything was already shaky. I put this pressure on myself and I wish I could have just said fuck it. Cuddling and nursing and diaper changes are all we are doing today and tomorrow and maybe for months and that’s enough. That’s enough. 

Motherhood has been its own journey of ups and downs. The ups are perhaps the essence of what life is truly about. Soul to soul overwhelming love. Joy that wants to explode out of my skin when I see her, when she laughs, when she rolled over for the firs time or clapped on her own merit in response to “good job!”. But also, exhaustion, identity crisis, relevance, body issues, loss of freedom, mourning my absence from photography which is my individual purpose and passion and fear of losing my creative vision. You can feel all of these things and still be madly in love with your baby. You can be completely frustrated you have no time or energy to create but also be so OBSESSED with your little one that you can’t tear yourself away. I just kept telling myself, I will have the rest of my life to make photographs but I will never have this day again with Ellie. Babies change so much overnight, I just had to make peace with pausing my life and saying, “OK, I’ll look forward to all the things I’ll create in the future but for now, she’s it.” I don’t want to miss a thing. I don’t want to regret not being there, not being present because we can’t do this over again for her. Looking back on the first year I know I made the right decision for myself. I miss endless days in the studio alone with my craft, I miss commercial projects that earn me living and give me the joy of collaboration but just like that, they are already back and my baby is off on her own adventures. 


I’m still not sure what the impact of transforming into a mother has had on me yet. I’m still too “in it” to process its effect or to see a difference in my work. There is a change in how I see the world, but how that translates I don’t know yet. Part of the approach to the 12 month portrait series was as a way for me to “see” us in a way that I could understand, in a way that is easiest for me to communicate- through the lens of photography. I simply wanted to see us change, together. I look at it now and I do see us. I see the discomfort in my body and in my soul in month one. I see Eloise’s defiance of being treated like a baby in month three. She would never let us hold her like a baby, she aways wanted to be UP. Standing up, sitting up, up up up. I see her personality begin to shine in month four along with my confidence in my abilities as a mother. I can see when it started to get fun, when our relationship became deeper, when I transitioned from proud strong nurturer to baby wrangler. But mostly, when I look at this photograph I see Eloise grow into her own, I see how time has taken two shaky humans trying to figure life out and turned them into an  “us”  and when I see where we are today, I know I’ve done my job. 

This was without a doubt the hardest year of my life. I wish I had family nearby to help. I wish I owned a house that felt like our home. I wish I had saved more, planned more, read more. I guess no one is ever truly ready for a baby. We thought we were, but the transition is just still so shocking. To this day we are still discovering and saying “wow, life was so much easier before… but man we would never go back to life without Eloise”. As hard as it is, it’s so worth it. We all belong together, to each-other and as much as I will miss these days of having my baby, holding my baby, this purity of life is so beautiful to witness that I’m unable to fully express it into words yet, I do look forward to what comes next. I do think the best is yet to come and I do hope, most of all, this one year series will continue to grow into a lifetime.

She has painted our world into color with merely her existence… life means Eloise. 

This writing is not meant to be read as commentary on how one should or should not mother their children. I am speaking from my own experience and making the choices that were right for myself and my family. Every parent and every child is different and there are a million correct ways to raise a baby. I pass no judgement, I hope those of you reading this will as well. 

Favorite 1st Year Baby Things:

If you can afford a night nurse I would highly recommend that to get though the first weeks and then to help sleep train your baby. Some of my friends did that and it was great for them. If not, I highly recommend getting a SNOO which was what we did. We used this from week 6 to month 6 and LIVED for it. We even traveled with it everywhere we went. They also do a rental program to save on the cost.

♦ The Happy Sleeper– the book we used as a guide to sleep training with fantastic success. Eloise sleeps between 11-12 hours a night and it taught us how to train her and gave us confidence in what to do. 

Baby fashion brands and shops I love: Bon Point, Smallable, The Tot, Pepa & Co., Misha and PuffLa Coqueta, UPA, Goldness, Bébé Organic, Bunny Bogart, Wild Wawa, MIOU, Micaela Greg, Pink Chicken, Maisonette, Tartine et Chocolat, Soor Ploom, Love Shack Fancy, Tocoto Vintage, Luca & LucaJanie and Jack, FUB, Rylee + Cru, Noble Carriage, Atelier ChouxThe Little Tailor, Condor, Daniel & Sofia, The Beaufort Bonnet Company, Marie Chantal, Petite Plume, Anavini, Petit Bébé, Pixie Lily, Lullaby Set, Apolina, Donsje (shoes), Little Unicorn (especially love the hooded towels), BonTon (especially love the store in Paris), Briar Baby

♦ BABYZEN Yoyo + The best stroller. Light, folds up tiny, fits easily anywhere including small cafes and overhead on airplanes and it lasts! Goes from birth bassinet to toddler. Highly recommend the bag attachment, great for grocery shopping or when you’re out all day to throw things in. 

♦ Angel Cab– The most beautiful stroller! Some of my most fond memories from year one, especially in the first 6 months, was pushing Eloise around in this stroller. We called it her Rolls Royce! The most smooth, elegant thing, and unlike the other 99% of strollers, absolutely gorgeous to photograph. 

♦ Thule Urban Glide II– We started using a running stroller around 9 months. Kevin did a lot of research on this and spoke to a stroller running club in NYC and this is the model that came most recommended and we see why, we love it! Totally smooth, feels really safe, great storage, and the design is perfect for it’s function as far as hand placement, leg room. I can’t imagine a better running stroller. 

♦ Medela Freestyle Breast Pump– I was very happy with this breast pump kit. Easy to use, worked great, could carry it around with me, easy to clean. If it’s not working great for you, try a different size breast shield, once I switched to a smaller set than what came with the kit it worked MUCH better. We also bought storage bags to freeze excess milk and really, you have to buy the bustier so you don’t have to sit there holding the bottles. With the bustier you can be hands free and I would just attach the machine to my waistband so I could move about. However, I pumped a lot in the beginning to make sure I had enough milk because I was alone in this whole journey and had no idea if she was getting enough to eat, so by pumping I could see there was milk in there. Since I was never away from Eloise there really wasn’t a reason for me to pump unlike for women who go back to work at 6 weeks / 3 months and want the caretaker to bottle feed their baby breastmilk while away. Knowing what I know now I would not have pumped at all, ever. But again, I’ve never been apart from Eloise so I didn’t need the supply. 

♦ Nuna Pipa Lite– We have been really happy with this carseat (the 1st purchase was a disaster so we desperately bought this one).  However, if I could do it all over again, I would but the Nuna Exec which goes from birth to being a kid! I don’t know if this was available when we were looking or if we were just delirious and missed it but is so much better to just buy one and done than having to keep buying carseats as they grow. As far as car seats that clip into strollers, in my opinion, these are good in theory but Eloise is not one of those babies that enjoys a car seat. EVER. So that was never an option for us. 

♦ Baby Bjorn Mini– This was one of our most used, must loved items. Eloise loved it, especially when she was big enough to face out. She always wants to be upright and looking at the world. The slings never worked for her. This carrier was great quality, soft, easy to put on and felt safe. 

♦ Baby Bjorn Bouncerwith google eyes– Eloise preferred for me to always hold her but time to time she could chill in this bouncer while I made dinner.  

♦ Cocoonababy– This is what they used at the French maternity where I gave birth and what Eloise slept in while there. We got one for home and she would take naps in this in the day which worked out great and slept for some periods at night in the beginning. We only used it for the first couple of months but I loved it because she was strapped in and it’s designed to newborn baby bodies so it just felt very safe. We had some extra colorful sheets and a cover which is like a safe blanket. 

♦ Swaddles– I mostly used these for tossing over my shoulder breastfeeding in public though they came in handy a few times for emergency clean up situations. I think I really only needed two but would use those two for sure. 

♦ Baby Cream– You know, this is totally unnecessary but I can’t tell you how much joy it brought me to smell this scent every day and now have that scent, which is such a timeless European scent, remind me of baby Eloise. And actually, the bottles lasted for 8 or 9 months so not a terrible value. Eloise’s nursery smells of this scent and it is just so pleasant in the early mornings when it lingers (Kevin calls it aromatherapy). I didn’t start using it until she was a few months old as I wanted to make sure her skin wasn’t sensitive or she wasn’t sensitive to scents. I did not wear perfume or scented lotion either! When we did begin to experiment I did a patch test first to make sure everything was ok. 

Big Flopsy– Around month 7 in pregnancy I was having discomfort sleeping and we bought a Big Flopsy from France’s version of “Buy Buy Baby” out of desperation and it has literally been my MVP. We call it my “snuggle slug” since I was always wrapped around it. I traveled around the world with it throughout my pregnancy, used it every single day and since Eloise was born, as a nursing pillow. When she was a baby I could prop her up on it, lay her down in it to nap and wrap around her as she learned how to sit up. It’s been so useful. The brand of mine is Red Castle which is popular in France but I know there are many similar items in the market that work just as well. 

Baby Bjorn Travel Crib- We have been really happy with this travel crib! Folds up small, easy to travel with, easy to set up and feels completely safe. It’s a great size and great quality. I couldn’t imagine a better travel crib. 

If you have thoughts, comments or something you would like to share, please do so on this instagram post! I would love to hear! 

Rodin Museum

You don’t have to think about Rodin to feel Rodin. Perhaps, even, it is what you feel first that stays with you after. How can someone sculpt the thoughts of man, the memories of love, the history of humanity with seemingly such ease?… take a walk through the Rodin Museum in Paris on a sparkling afternoon and find yourself haunted by the beauty of his immortalized humanity… 

See all my Paris stories here

Still life with Roses & Snails

On a rainy Saturday in Provence, I awoke to the distant rumbling of thunder sparing with the town’s bell tolls marking the hour to awake. It was market day in my village, I had no choice but to brave the rain and I’m glad I did for it led me to these melon toned roses that set my day on a new path and brought to life the natural curiosities all around me…

My Year in Provence

This is a hard post to write. I have such a flood of emotions looking back, reflecting on what I have learned, how I have grown, and what I have loved. You can not recap a year’s experience without ending it with what is next? To be honest, I don’t know. Sure, I thought I would come to spend a year in Provence and answer all the questions for myself about my life, about who I am and what I want. I can certainly answer now some of these things but other aspects have grown even more confusing. I loved things I never thought I could love like living in the country. I learned things about myself I never knew. For example, I am an introvert which finally explains why I hate talking on the phone, why people who are upset or angry give me anxiety attacks, why I feel so exhausted after social events, and most importantly, why I work so much better alone. So where does that take me next when I come back to the United States? 

It was shocking when I first arrived. Nothing seemed to be possible, from getting boxes delivered to buying food on a Sunday… or any time after 7pm. I missed all the things about New York I took for granted. 24/7 Uber service for instance. There is ONE Uber guy and he lives and hour from my little town. I am ecstatic when my train pulls into Avignon and he’s on the clock. I missed laundry service. The last time I took a linen shirt to be pressed they estimated a turn around time of two weeks… lol. So I got used to wrinkles. I missed Seamless, something which I never even think about now. The pleasure I derive in cooking is to the point of therapy. The access to organic, AFFORDABLE, locally farmed ingredients here puts the US to a great shame. I will never forget my first trip to the farmer’s market. Alone with only a handful of French words, I was terrified. I paid for everything with 20’s because I didn’t understand the amounts, and I was used to New York City farmer’s market prices, until I discovered how incredibly inexpensive everything was. Then I walked into the wine shop and my jaw really hit the ground. When it is not market day in my town or one of the surround villages, I have four bio (organic) grocers I can walk to. I know their names, what is happening in their life, who is having a baby and who is in the hospital. I am, for once, part of a community and I feel physically part of the earth here. 

I learned to live a life with less noise. My days in Provence are filled mostly with cooking, cleaning, and making photographs and those are the days when I am most happy. I found freedom. Above everything I learned, I discovered true freedom. Freedom exists beyond the ability to choose where you live or what you believe. I found freedom in my art and expression. I found freedom from money. Of course, we all need money to survive but they don’t worship it here in France and it’s amazing how much your stress levels dissolve when that’s not the goal to life. I’m really into being free from plastics and logos and that has brought down the noise in my life in the best way. I loved the freedom from a culture that tells woman how we are supposed to look. I loved being free from what society tells me I should be doing like having children and a corporate job so I have health insurance. I loved the freedom from ‘stuff’. I never had to walk outside my door and be reminded of all the ‘stuff’ I don’t have that I supposedly need to in order to be valuable. The value comes from within – in my mind, in my soul and if I can create something of meaning. I wish I had more time to work on these ideas. Time, I have come to find out, is the most valuable thing we have. 

To quote the French philosopher Albert Camus who lived in Lourmarin not far from me, “The only way to deal with an unfree world is to become so absolutely free that your very existence is an act of rebellion.” 

Of course, these are just some of the many thoughts and experiences I have garnered in my year here. I slowed down on sharing (blogging) to take the time to be present and experience. I imagine when I return to the US I will begin editing and posting so many of the stories I have filled up 5 hard drives with. There is so much to sift through and my heart has been on a roller coaster. This week has been especially though as I try to figure out where I belong in the world and what value I have for an American culture. 

I created a self portrait to mark the year anniversary as part of my #ProvenceSelfPortraitSeries inspired by Jan van Eyck’s “The Arnolfini Portrait“. This is a great short video on the piece from one of my favorite YouTube art channels. I loved that this was a “painting of everyday life” as much of my personal work here in Provence has been a celebration of the day to day things. What is in bloom, what is in season, what bug crawls into the window, how the light is today.

Beyond that, I wanted to explain some of the personal symbolism I added into this photographic rendition that pertains to my own experience at this year mark. First, there is meaning in the absences. The absence of furniture is symbolic of feeling unsettled, homeless. I brought in chairs, tables, daybeds and pushed them back out. I feel at home in Provence in my soul, yet I do not have a home. I left the shadow of the table with a bowl of pears cast along the left edge to show there is life that happens in this space. I planned to bring in a newly born kitten from town as I love all the cats that roam my village and have earned their trust but then I felt the absence of the pet represented my life more. As many of you know who follow me on Instagram stories, I DREAM of having pets. Both women wear green gowns by Loup Charmant (left & right) in green, green being a symbol of hope. My hope that this path I am on will lead me to where I belong. The hope that I can do something with this work I have created in Provence. The woman on the right holds her gown close to her chest, representing holding everything dear to me I have learned in Provence. The only real valuable thing I can take with me when I go. Her slippers are on because it is time for her to leave. She looks back, sorrowfully to the woman on the left, sometimes I feel my heart being ripped out when I think about having to leave this place. Originally, I had taken a photographic plate with tear stained cheeks but felt the expression was enough on its own. The woman on the left is turned to be ‘looking back’, reflecting on her time in Provence. Her slippers are off and she is barefoot to represent feeling at home here. She gestures with her hand in the way of a ‘blessing’, feelings blessed from this time in France. Though they are married together, in the sense as one, their hands rest together open, vulnerable of being torn apart. The inscription on the wall is my signature and dated for my one year. Hanging above them in an antique mirror which I borrowed from a shop in town, hides a third self portrait. The real me, the photographer. I stand in my men’s linen suit with my camera on the tripod. You can see a discarded green dress on the table, my phone in the bottom left which I use to create these self portraits as a remote control to my camera. I am standing in the kitchen which is pretty much where I always am while at home either working or cooking. You can see the large French doors that over look my garden and her ripened fig tree. 

I will be here a bit longer. I have some more personal work I need to do before I go and a few professional jobs on the table. So there is some time to ponder what happens next…

Dear Ophelia

Moving to France I had to face a lot of fears. The fear of leaving New York, fear of failing in France, fear of discovering the limits of my potential, fear of becoming irrelevant, fear of being homesick. For those of you who follow along with my creative adventures in France, you know with the making of this Cinemagraph I had to face a fear of water to get the shot. The funny thing about photography, and any art form, is that when you get an idea in your head you become obsessed with it until you create it. I didn’t care that I knew I would going to have mini freak-outs to do this, my imagination was certain snakes and toothy creatures would devour me in a heartbeat…. BUT creating the thing was more important. What it means to me, what it represents, what it communicates about my human experience is more valuable than being afraid. Which is exactly why I got on the plane through a stream of tears and came to France. 

This cinemagraph is a bit of a French baptism, a creative cleansing. I am no longer who I was before France. I have let myself wash away all my preconceived notions, and now, no matter where I end up on this earth, I will always be able to remember this version of me fearlessly floating weightless in the water that summer evening in the South of France where I met and drowned so many of those fears.

Where the currents will take me I’m not sure of, but the view looking up is lovely and the creatures out to get me are now just friends…

If you’d like to leave a comment, please join the conversation on Instagram here.

The Last Supper

Recently I went through a personal Renaissance. I left my life in New York. I moved – at the time alone – to Provence, in a country whose language I did not speak, to a town I had never been to, into an apartment I hadn’t seen. I had never lived alone. A lot has changed since that September day. In the silence of the French countryside I met myself. I met all of my selves. I learned that I can take out the trash, pay the bills, survive through scary noises in the night, take myself to dinner and the movies and do all the things I have always had a man around to do for me. In a sense, I discovered my own masculine side. I became empowered for the first time as a woman.

As a photographer, personal experience is realized through what one creates. Having this time alone to explore myself led me to create my Last Supper, which touches on the facets of myself: my feminism, my masculinity, the past, present, and future. Considering I am not a religious person, when I look at Leonardo da Vinci’s The Last Supper, which portrays the moment where Jesus announces to his 12 disciples that one of them will betray him, I find the study of each of the characters a fascinating glimpse into the flaws of man. I took this concept and put biographies of myself into the painting. My interpretation both defines the complexities of a single human experience and explores the struggle of feeling betrayed by your own mind. The part of me that drinks too much, works too much, wants more money, wants perfection, wants to be desired. I do worry that one version of me could destroy another, a true betrayal of self. It is also a counter argument that we as women are defined by one thing: being a woman. I might be a woman but I also have a masculine side (the woman depicted on the far left) that is independent and smart and completely covered from my curves. On the other end of the spectrum (the woman on the far right) is the exact opposite. The most feminine, most natural version of myself. This is why she is portrayed nude, soft, and leaning on the undressed naked wood of the table top. I can be both; just as a man can be both strong and incredibly sensitive. 

Now of course, I am a woman in a man’s painting of men. To be honest, sometimes I wish I were born a man. There are days when I just want to wear my comfortable men’s linen suit I bought on a recent trip to Aix em Provence with no makeup and just do my job. The importance of Leonardo da Vinci’s work to me is this: he painted women as masculine and it is that characteristic of his muses that is what makes them attractive. Most importantly, he gave them thoughtful eyes which to this day we still ponder. Of his few remaining female portraits, we can see a man who viewed women as intellectual equals, not merely beautiful objects. That is why in the centre all-knowing version of myself I am actually thinking – not about the photograph I am taking, but about what I know about who I am. I wanted her to show the same piercing clarity Jesus was portrayed to have had, to speak directly to the viewer about all of these women surrounding her, to be the grounding pure core of myself amongst the chaos. I wear red because it is the heart of the photograph and is the heart of who I am. It is also Dior, because I am in France after all. 

Click image above to see in high resolution. 

If you’d like to leave a comment please join the conversation on this Instagram! I’d love to hear your thoughts!  

My Last Supper photograph and essay “WOMAN” was first published in Men in this Town

Thank you guys for believing in my work and sharing it around the world in print!


The Female Nude


I am a woman. I am aware of my body like any normal human being. It’s not a surprise, just look at the images served up to us. Everyone is beautiful, happy, young, thin… they have the perfect (insert your own personal thoughts here) stomach, eye brows, waist, legs, hips- sometimes it feels like an impossible treadmill of perfect we will never really achieve because of genetics, because we have real life and real work and can’t spend the amount of time it takes to achieve “perfection”.

But really, what is perfect?

I’ve always be interested in shooting nudes. I started in college. The body is one of the most beautiful, natural things about life. The way it changes, the way it gives life, the way each is our own and that is what makes us special. I wouldn’t take my grandmother’s wrinkles away, or Dad’s loving soft hugs, or seeing my sister-in-law’s body change carrying the amazing twins my family adores. I would not say that I have had body issues all my life, but as I’ve gotten older I had to learn to look in the mirror and teach myself to stop judging the way I look compared to other people.

As a photographer I look for what is photogenic from people to places to the design of a still life. I’m not going to lie, I love tall beautiful thin fashion models. They are like illustrations of illusions of an idea of who we think we are or could be. Fantasy is part of the fun, photographing that fantasy is one of the things that I love most.


There is a place for curves too. Curves are incredible. When our model Jourdan walked in I was honestly first taken back by her personality. Her confidence. Confidence is the one of the greatest quality anyone can possess. She was cool, smart, comfortable in her own skin. She was one of the least self-deprecating models I’ve ever worked with. When we started making photographs a lot changed for me. Not only as a photographer but as a woman. Maybe even more importantly as a woman. Here was a human, not afraid to let me photograph her with nothing to hide behind, no character to portray, no fantasy story to tell, it was just her. In the moment. In the light. Just the way she is.

After this shoot I had a mix of emotions. Her body, so beautiful, so photographic in its shapes and contours was in one word: inspiring. She made me realize that the female form in any shape and size is incredible. To have curves, softness, confidence was true beauty. She represented to me what being a woman was all about. I understood why Renior and Matisse painted the way they did and I saw that beauty too. I was so proud to be a woman and in my personal life, more confident about the size of my chest and softness around my stomach. If wrinkles show the hand of time and the life that was lived, curves show the fertility of it and the raw attraction of humanity.

I guess what I’m trying to say is that women come in many fascinating forms and, at this sitting, I saw beauty in a way that should be more often seen.

Here’s to the beautiful form we call being a WOMAN.

  The_Female_Nude_04 The_Female_Nude_05 The_Female_Nude_06 Continue reading “The Female Nude”

Natural Beauty


Natural beauty comes in all forms, in the bareness of a woman’s face, the sweeping landscape of our earth’s vistas, the colors of a sunset and in a precious metal that came crashing down to earth 4 billion years ago: GOLD. We talk about gold jewelry here a lot from what it means to us to where we wear it. I’m always inspired by what designers do with these natural elements, how they create magic with something that traveled across the universe and existed here before mankind.

Modeled by my own natural beauty muse Alli Lanier here are 5 new jewelry designers I’m finding inspiring these days to watch~

Temple St. Clair

Temple St. Clair began, like many great works of art, in Florence, Italy in 1986. A city where the namesake designer still draws inspiration from stating, “Each object that I create carries the soul of the history of the artisans of Florence.” With her signature cocktail rings, rock crystal amulets and elegant gold work, this very chic woman has created a line of jewelry that is collected by in-the-know women that appreciate the balance of art, history and craftsmanship.

Above cover~ 18K Gold Classic Horizontal Oval Ring with Blue Sapphire & Diamond Granulation

Below~ Royal Blue Moonstone & Diamond 18K Gold Bella Bangle


Below~ 18K Gold Owl Face Post Earring with Diamonds


Continue reading “Natural Beauty”

Jean Pierre Soalhat

Inside the Provence, France mosaic artist studio of Jean Pierre Soulhat

There is an incredible history to the village of Lacoste – with buildings dating as far back as the 12th century, tales of medieval battles and debauchery, a reputation as being the former home of the infamous Marquis de Sade  – so it makes sense that it would need an incredible historian.

Enter Jean Pierre Soalhat: historic preservationist at SCAD Lacoste, professional mosaicist, and a genuine Provençal man. One of the many amazing qualities about SCAD is the amazing people, staff, students, and professors it attracts. In Jean Pierre’s case, a man whose family has – for generations – been a part of this community, he has become a pillar of support for SCAD Lacoste through his historic knowledge of the area, his all-around ancient-building handyman skills, preservation teachings and even artistic workshops with the students. I had the opportunity to visit Jean Pierre at his studio in Caseneuve where I could see his artwork. I was impressed by his mosaics – some pieces containing shards of ancient Roman pottery he finds in riverbeds and fields – but also amazed by the fact that Jean Pierre doesn’t own a cell phone (jealous).

All around the SCAD Lacoste campus you’ll find Jean Pierre’s artwork, from La Residence to outside shopSCAD, at Maison Basse and even in the President of SCAD’s home, Paula Wallace. AND…if you’re ever hanging out with Russell Crowe or Sandra Bullock you might notice it in their personal collections, too….

When we visited, Jean Pierre said he was “dreaming of fish”, which reflected in his work…but I know I shall sleep dreaming of archaic fragments coming together to create beautiful everlasting works of art.

Inside the Provence, France mosaic artist studio of Jean Pierre Soulhat Inside the Provence, France mosaic artist studio of Jean Pierre Soulhat Inside the Provence, France mosaic artist studio of Jean Pierre Soulhat Continue reading “Jean Pierre Soalhat”

Chanel: Light and Time

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Light is the universe’s constant. Time is ours. As photographers we study light versus time, making calculations and judgement calls for each photograph we create, manipulating light to play alongside the constant of time. From a macrocosmic view of the universe time is just an idea, but for us it’s a reality that never stops. We use photography to take a slice of that time, doing the best we know how to manipulate something out of our grasp.

A portrait of a photographer, Time by Chanel.

Maria Brito


I met Maria Brito last year when she began working with and advising Kevin and I on our personal work and where to take it. We started doing artist studio tours together around Brooklyn – Maria has an amazing knowledge of the art world, not only in New York but around the world. Her blog and Instagram do a great job of taking you along for the ride! And in case that doesn’t sound chic enough, she covers art fairs like Basel for publications such as Elle; she was featured in Vogue Brazil; she buys art for P. Diddy’s (Sean Combs’) homes; she’s written a book about living with art; she’s a wife and a mother of two; and now, because she has soooooo much free time 😉 she is marrying her two passions, fashion and art, by launching a very limited edition capsule collection of clutches. These pieces feature three different artists –  Kenny ScharfErik Parker and Carlos Rolón/Dzine – in editions of 20 exclusively at Kirna Zabete in SoHo and online. They are truly “wearable art”, pieces that will increase their value through time, and that are themselves timeless.

Below are a few questions I had for Maria about what she wants to do now, what other A-listers are on her client roster, and her thoughts on how to buy art…


So these clutches are amazing! Where did you get the idea for them?

“I had been looking at the idea of doing product. I wrote a book, I do design services, I post things on my blog, so I thought it was about time to do something else. I had been looking at art collaborations, and while I thought some of them were very cool, I realized I wouldn’t necessarily wear what’s available right now. I wanted to create something that my friends or my clients or that I would actually wear, so I came to the idea of doing these clutches. I emailed a few artist friends about the idea to validate that the prototypes were going to work, and they all said, Yes. And the beautiful thing is that in the end, it worked out. So really it came as a natural progression of what I do.”


 So tell me about each of the three pieces of art…

“The zebra print one is by Dzine, his name is Carlos Rolón, he’s an artist who’s based in Chicago. He’s from a Puerto Rican background, so we connect really well because we’re both Latin. This was a piece made for a show that was at Paul Kasmin at the beginning of the year. I took a detail, because it’s a big square, so I had to crop it so it would work for this shape…I feel it works really well for this type of thing.

The white clutch is from Erik Parker. The original is a diptych – it is actually hanging in the house of one of my clients. It’s huge – 6 feet in height by probably 9 feet in length. It’s separate because it’s a diptych, so I decided to play with it and put it together. It worked out really well! This one came full circle because it’s in the house of my client and now…well, you know what I mean.

And the Kenny Scharf one came from a piece that he did in the 90s. It’s also a detail. He’s very known for doing those creatures and little animals, so of course he told me, “Choose one in my archive of 600,” and it was kind of hard. I mean, it’s not that it was hard, having 600 pieces to choose from, but I wanted in particular to have the little creatures! I loved how this turned out to be. It’s very playful.”

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What comes of all the creativity that pours out of Savannah School of Art and Design?… SCAD President and co-founder Paula S. Wallace answered that question with shopSCAD, a unique store in the heart of historic Savannah, Georgia where students and alumni can showcase their talents though innovative handmade works of jewelry, paintings, sculpture, pottery, housewares and more available for purchase. ShopSCAD is always on my list of *must do* Savannah visits every time we are in town! So inspiring!

shopSCAD_003 shopSCAD_004 shopSCAD_005

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Savannah College of Art and Design


So you want to be a designer… an illustrator… a jewelry maker… an animator… you want to be a buyer for SAKS, animate characters for Pixar or make jewelry for Tiffany & Co… but how does one begin? What is that first step on the road to forever? Enter SCAD.

I don’t have a lot of regrets; I find it a waste of energy to regret something, and yet… I regret I did not go to school at Savannah College of Art and Design. I have toured the campus twice, that’s how impressed I am with it. I’ve made friends throughout the years with SCAD graduates and know many colleagues who have SCAD alumni working with them. I hear their name in the creative industry more than any other!

Let’s talk about the campus – first off, there are SCAD campuses not only in Savannah, but in Atlanta, Lacoste, France, and Hong Kong (um, amazing). But the main campus in Savannah is so beautiful I just can’t help but admire it…nestled in historic downtown Savannah, Georgia (you *know* how I feel about that) SCAD has saved and renovated / restored / preserved 70% of the historic buildings. I’m always one for subtle inspiration and I find that a college interlacing perfectly into a city, tucked away behind plaster moulding from the 1800s and beautiful old wooden floors, to be beyond inspiring. The Fashion Marketing building was so beautiful and so whimsically decorated with its wall of eclectic paintings and research room with a fireplace and bookshelf of artifacts that I told our guide it was just rude the students get to have such beauty.

So here we are in my beloved Savannah; let me take you on a tour of one of the most impressive creative institutions I know…


Before we “go to class”, let’s talk about first impressions – they say that’s everything, right?

While we were down in Savannah, everyone was abuzz about SCADstyle, a campuses-wide event happening April 14th-17th which brings together luminaries from the worlds of fashion, jewelry, interior design and other fields for a series of discussions and lectures about the state of design and fashion. This time guests include fashion designer Alexander Wang, renowned graphic designer Stefan Sagmeister, and Domenico De Sole, Chairman at Tom Ford. I want to go back just to hear the digital content panel with Sally Singer, Quentin Jones, Cass Bird (OBSESSED), Sara Moonves and Arnaud Boutin! Even our friends from Dannijo will be speaking!

I’m sure all of these people will walk through SCAD’s main admissions building and why would they not?… it’s GORGEOUS.

The Savannah College of Art and Design photographed by Jamie Beck

One of my *favorite* things about SCAD is how they fill the buildings, halls, shops, restaurants, and town with student and alumni work. The piece I always take a moment to look at each time we are in Savannah is in the admissions building; it is a sculpture of a bee which I find amazing and here is why:

Bees should be extinct.

Natural selection should have eradicated them centuries ago, scientists say. Their bodies are too big for their wings. This is SCAD’s mascot; so chosen because it was widely held that the bee should not be able to aerodynamically fly, yet it does; the school was not expected to do well when it started 35 years ago and yet…it does. The principle the college was founded upon was to give students with interest and passion a chance…to fly…even if they weren’t yet aerodynamically prepared.

The Savannah College of Art and Design photographed by Jamie Beck The Savannah College of Art and Design photographed by Jamie BeckThe Savannah College of Art and Design photographed by Jamie Beck The Savannah College of Art and Design photographed by Jamie Beck The Savannah College of Art and Design photographed by Jamie Beck The Savannah College of Art and Design photographed by Jamie Beck The Savannah College of Art and Design photographed by Jamie Beck


A couple of years ago I was sitting at Prabal Gurung’s show and I met the man sitting next to me – he was charming and intelligent, and by the end of the conversation I learned that he was Michael Fink, the Dean of Fashion at the Savannah College of Art and Design. Fast forward and here we are, talking about the fashion program of SCAD and reminiscing about that first day we met. He was formerly the Women’s Fashion Director at SAKS for 15 years and now he talks about his student’s work with as much passion as if he just saw a Jason Wu runway show. One of the points he made I found incredibly compelling was that he sees each senior fashion design student’s collection three times throughout the year to advise them and help ultimately guide their success. I asked him where students go on to work after they graduate from the program and as he begin to rattle off a list of the most famous U.S. designers and brands I cut him off and said, “So… basically there are SCAD fashion design alumni everywhere.” and he laughed and said yes.

The fashion design program in Savannah has 400 students in classes that cover fashion illustration, design and accessories. Senior students make six looks for a collection by hand, which they submit to a juried show. Twenty industry professionals narrow the total submissions down to 20 students who are invited to show their collections in a runway show that is well attended by both the local community and recruiters from top fashion houses.

The Savannah College of Art and Design photographed by Jamie Beck The Savannah College of Art and Design photographed by Jamie BeckThe Savannah College of Art and Design photographed by Jamie Beck

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