I've mastered the execution.
Now I direct the vision.

I earned a BFA in acting before I ever pulled a rack of clothes. When I fell into fashion, I fell hard, and I brought the actor's toolkit with me. I still work a shoot the way I'd work a role, asking three questions: what story am I telling, who is the person wearing the clothes, and how do the clothes change them? An editorial isn't an outfit. It's a mini-play.

That instinct got noticed early. Nikki Fowler, editor-in-chief of Glitter Magazine, was the first to believe in me as an editorial stylist: she let me style the spreads, art direct, and produce the shoots. I joined the developmental creative team at Ladygunn, sharpened my styling and my art direction, and became fashion editor at Sheen Magazine and host of The Journey on Sheen Talk Live.

Then came the work most people know me for: celebrity and red-carpet styling for Macy Gray, Skai Jackson, Norman Reedus, Keesha Sharp, EJ Johnson, and Garcelle Beauvais; editorial and commercial campaigns; commentary in TIME on how clothes shape the way we're read; and an on-camera turn in Glamour's styling competition Dress to Kill.

These days I work upstream. I lead visual merchandising and styling in enterprise fashion at Walmart, the largest retailer in the world. I develop the central concept, set the point of view, turn business goals into a visual language, and direct the teams that execute it at national scale. I didn't leave styling behind. I built on top of it. The years of sourcing, fitting, and producing are exactly what make my direction credible: I know what it takes to turn an idea into clothes, sets, people, stores, and campaigns.

The through-line hasn't changed since the acting classroom. Style is how people and brands tell the world who they are, and who they intend to become. My job is to help them tell it well.