I’m very interested in hearing more about your ideas of intimacy and the role it plays in your art. My work is about race and all these other things, but I’m also invested in playing with fantasy and love and things that are not obvious to the conversations at hand. The films are not going to be like movies in the way where they are scripted conversations. I’m hoping they are a lot more nonsensical. I want it super nonsensical. Like, what did you actually get out of it? What is it trying to represent? I’m interested in the whole movie arc - meeting the highs, the lows, the complexities, then figuring things out and solidifying something at the end. My brain gets overly obsessive with moments. Whenever you watch a film, you’re seeing how happy they are in this moment. But then, they throw a wrench in you. Such as when the main character gets hit by a bus or her ex-husband comes in again. It’s always setting you up for the moment of tension. I’m thinking about my film and I’m like what if we’re not presenting a moment of tension. What does it look like to exist in bliss? That would be so beautiful because we get so wrapped up in conflict all the time. There’s enough representations of conflict already.
In a way, working on the film and making clothes are very intimate mediums because you’re having this direct connection to people by collaborating and allowing your pieces to be worn on bodies. This was recent, but something that made me happy during a time when I was upset with making clothes and didn’t want to make clothes anymore, was someone that bought my work. There’s this shorter plus size woman, and she never thought she would have clothing by designers that would fit her body. That was so important for me to hear because she was happy. This thing I’m doing feels frivolous to me in some ways, because fashion can seem like it’s all about aesthetics, but now this woman can get access to it too. And I think it meant so much to her, that it made sense why I’m doing this.
90