The Theater of Ethics & Craftsmansip

From Resistance to Reflection: Embracing What I Didn’t Expect

At this year’s Women’s Wear Daily x Fashion Scholarship Fund event, I had the incredible opportunity to meet one of my favorite designers, Jackson Wiederhoeft. After attending his 2024 A/W show—organized by my mentor Grace Chang—I’ve been completely mesmerized by his craftsmanship and narrative-driven approach to design ever since. His show combined theater, dance, and fashion in a way that felt otherworldly—everything I dream of incorporating into my own shows as an entrepreneur.

Wiederhoeft and I spoke about the importance of storytelling in fashion. He shared how his background as a theater kid inspired his theatrical runway presentations—but also how he had to learn to balance those theatrics, ensuring they elevated rather than overshadowed the garments themselves. His dedication to craftsmanship is extraordinary—especially his corsetry, which resonates with me as I, too, explore the human form through that lens. What amazed me most? He’s self-taught, learning from free YouTube tutorials. That revelation alone inspired me deeply, showing that passion and curiosity often mean more than formal training.

We talked further about feedback—how to accept critique while staying true to your artistic identity. Speaking with him was not just exciting; it felt like speaking with a future version of myself. His perseverance, creative clarity, and bravery to launch his brand right after graduating from Parsons really struck a chord with me. Though he encouraged young designers not to rush into starting a brand without gaining experience first, his journey proved that drive and authenticity can lead you far.

Another conversation that truly challenged me was with Deirdre Quinn, co-founder and CEO of Lafayette 148. Her insights on business and manufacturing were especially striking. As someone who focused my 2024 FSF case study, Planet Gucci, on workers’ ethics in Italy and abroad, I was eager to hear her thoughts on the ethical challenges of manufacturing in the U.S. versus China—beyond just infrastructure.

When I brought up the topic of exploitation, particularly the forced labor of Uyghur Muslims, Deirdre said something that stayed with me: "There’s bad manufacturing everywhere—and there’s also good manufacturing in every country.”

She was right. It made me pause, which made me uncomfortable because I never had thought about it in that context. It made me wonder why I should exclude an entire class for a some bad apples? I never did believe in that sentiment, so I found gratefulness in Deirdre questioning me.

I’ve long believed in using my business as a tool to push for better global standards—through transparency, limited partnerships, or even boycott when needed. But this conversation reminded me: the solution isn’t always to shut the door. Sometimes, it’s to walk in, demand better, and help build something more ethical from within.

While it’s true that there’s no such thing as a 100% ethical brand, I now see my role may have been more so as someone trying to escape the system—not as someone trying to change it. Deirdre’s words made me sit in discomfort, reevaluate my logic, and ultimately expand my perspective.

I’m thankful for that.

I still believe in pushing for reform, in uplifting worker’s rights, and in designing clothing that doesn’t cost someone else their wellbeing. But I also believe in nuance, collaboration, and truthfully... that this isn’t easy. And it’s not supposed to be.

The conversations I had at this event—with Jackson, Deirdre, and others—reminded me why I do what I do. Fashion is about more than what we wear. It’s about what we stand for, who we include, and how we evolve. I left feeling more driven, more challenged, and more certain than ever that change in fashion starts with the conversations we’re willing to have—even the uncomfortable ones.