GLOBAL FASHION
PUBLISHING

Model. Entrepreneur. Fashion technologist. Author. Publisher.

Fashion has never felt like an industry I simply worked in. It has been part of the fabric of my life for as long as I can remember.

My family has worked in performance and fashion for generations. My mom was a model and actress. My grandma was a Rockette, an actress, and later an entrepreneur. My great-grandma was part of an earlier generation of women working in fashion, and my great-great-grandpa was an actor in the silent-film era. I grew up understanding that creative work was real work — that talent mattered, and professionalism mattered just as much.

Every side of the business

I began modeling professionally as a teenager, and my career took me through New York, Europe and Los Angeles, represented by top agencies in every market I worked.

I was never interested only in what happened in front of the camera. I wanted to understand everything around it — the photographers, stylists, hair and makeup artists, bookers, agents, producers, designers, pattern makers, technical designers, cutters, sewers, buyers and merchandisers. A garment, a campaign, a runway show or a photograph is almost never the work of one person. It is hundreds of decisions and skills converging for a moment.

That curiosity took me to the other side of the desk. I founded and ran my own talent and modeling company in the New York market, representing a substantial roster and working with major retailers and fashion brands. That grew into a fashion and photo production company, and later a modeling school where thousands of students learned the practical realities of the work.

In Los Angeles, I built a long career as a fit model, working with the design and technical teams of leading fashion brands. A fit room shows you how a company really works — you stand alongside designers, pattern makers, production teams and executives while the product is still being made. And working across many companies taught me that no two of them solve the same problem the same way.

Between fashion and film, I have done nearly every job there is to do — everything except direct a movie. I have worked as an actress and appeared in film projects, and I have never stayed inside one discipline. As a teenager I apprenticed with a working artist. I paint large, stretch my own canvases, work on linen, and learned glassblowing, building a handmade chandelier from more than one hundred individual glass pieces. I have always wanted to understand how things are made.

Fashion’s waste problem

Sustainability is the work I care about most.

Standing in fit rooms, I saw both halves of a problem the industry has never solved. Brands hold detailed information about every garment they make. Customers know their own bodies. Online, those two sets of information almost never meet — and the result is returns. Garments shipped out, shipped back, repackaged, discounted, liquidated, and too often destroyed.

I started building Perfect Fit to fix that, and I designed it to benefit three parties at once. The brand, because fewer products come back. The customer, because the clothing fits. And the environment, because fewer garments travel back and forth and end up as waste.

That work evolved through several companies, including one where I served as co-CEO, and it continues today through Global Fashion Tech, SizeSphere, SKU Trust and CO2 Threads. The methodology is proprietary, and I have kept it private deliberately. What I will say publicly is that better information can improve fit, cut unnecessary returns, and reduce a real share of fashion’s waste. I have not given up on solving it.

That conviction is why Global Fashion Publishing is launching the Journal of Fashion Sustainability — a quarterly scientific journal for the research this industry needs.

Global Fashion Publishing

After a career spent in modeling, representation, production, fit and fashion technology, I kept coming back to one question: how much of what working professionals know never gets taught to the person walking in the door?

I founded Global Fashion Publishing to answer it. The flagship, Signed. Booked. Paid., is a ten-volume professional reference series covering every division of the modeling industry — representation, castings, contracts, billing, getting paid, and protecting yourself. The Tearsheet Collection takes a more personal, first-person look inside each division. Be A Model Books brings the whole family into the fun.

For years, I learned by working. Now I want to make that knowledge easier to find.

Professionalism

If one principle has carried through every stage of my career, it is professionalism. You arrive prepared. You arrive on time. You understand that someone’s budget, schedule and livelihood depend on you doing your job properly. You treat the receptionist with the same respect as the CEO, because the assistant in the room today may be running the company tomorrow. And you never forget that your reputation travels faster than you do.

I don’t see my work as a series of separate careers. Modeling led to representation. Representation led to production. Fit modeling led to technology. Technology led to sustainability. And all of it led to publishing. It has always been one conversation: how clothes get made, how people build careers around them, how we waste less, and how we pass what we know to the next person coming through the door.