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Do you know the Issey Miyake dress that was set on fire? Pechuga Vintage has a treasure-trove of stories
This story is part of Image’s April issue, “Reverie” — an invitation to lean into the spaces of dreams and fantasy. Enjoy the journey.
When Johnny Valencia was 14, a kid growing up in Koreatown obsessed with biology and entomology, he learned about a rare butterfly, the Papilio hospiton, that was endemic to the French island of Corsica. “I love the rarest of the rare,” Valencia says. “I’ve always loved the rarest of the rare.”
He thought about the butterfly for 10 years, until he eventually made it to Corsica while studying abroad and was able to acquire it for himself. Today, the delicate creature sits in a frame hung on the wall behind the desk in his sun-drenched L.A. showroom. It’s a totem that represents Valencia’s dedication to the rare, the special, the hard-to-get — and it’s found a home among the many other grails of the vintage collector. In this room you’ll find a Vivienne Westwood “SEX” choker, John Galliano-era Dior logo rings, a Gucci silver crystal mesh mask from fall/winter 2017, a pair of spring/summer 2017 Saint Laurent roller skate shoes, original Marc Jacobs Kiki boots from fall/winter 2016 and pieces from Jean Paul Gaultier’s cyberdot 1995 collection. The list goes on, and it goes deep.
Vivienne wears Thierry Mugler AW90/91 dress, shorts and gloves, Vivienne Westwood AW93/94 pumps, Schiaparelli SS23 earrings.
Valencia, who was dubbed the King of Corsets by Vogue for his deep knowledge and archive of the signature Vivienne Westwood pieces, is also the king of his self-created universe, his Bichon Lucas lounging on a custom-made dog bed like one of Marie Antoinette’s pugs while classical music purrs softly in the background. The collection that surrounds him is the result of his obsession with acquiring precious things, which may have started with butterflies but has grown to include rare vintage runway pieces from Comme des Garçons, Chanel, Louis Vuitton, Alexander McQueen and Saint Laurent. “I look around me and I’m like, ‘Yeah, there has to be a touch of madness to pursue something you’re so passionate about,” Valencia says. “Not only to pursue it, but to have it come to fruition and materialize. It’s a whole different thing.”
Pechuga Vintage, Valencia’s vintage archive and business, has become a go-to for amateur fashion freaks and professionals alike. Stylists, hardcore collectors, It girls: They all flock to Johnny. Last year, Beyoncé purchased a pair of Vivienne Westwood fall/winter ’10 Red Label armor boots from Valencia. On a red carpet recently, Katy Perry wore the Vivienne Westwood mock croc Super Elevated Court Pumps from his shop. Rihanna recently was spotted with a Dior Hardcore fall/winter ’03 bag she purchased from the archive.
Before Valencia became the source for rare designer pieces, he studied animal sciences while living on a farm at UC Davis, and later studied international relations and economics, which led him to attending Sciences Po in France. He would end up working for the Salvadoran Consulate. He once harbored ambitions to become a vet, or, as his grandma would have hoped, the president of El Salvador, where his family immigrated to L.A. from. But in fashion — using Vivienne Westwood as his gateway drug — Valencia found it all: history, politics, nature, curiosity and, ultimately, freedom.
While he was pursuing his diplomatic ambitions, Valencia took a role as an unpaid intern at Vivienne Westwood and switched his focus to fashion, working his way up to being a buyer. (Before starting his business, Valencia also dabbled in PR and event marketing.) “In Westwood’s designs, I found a lot of liberty because it was so well made,” Valencia says. “It fit into every portion of life.”
Oscars weekend was on the horizon, and Valencia would end up working with Adore the Couture to get a pair of vintage couture silk Chanel opera gloves to supermodel Irina Shayk for the Vanity Fair Oscars party. On Instagram, Valencia posted a screenshot of a last-minute request from Shayk’s team, and the process of making a pull like that happen — which he does all the time with the help of his staff and Virgo moon.
It was a particularly insane week at Pechuga. Oscars weekend was on the horizon, and Valencia would end up working with Adore the Couture to get a pair of vintage couture silk Chanel opera gloves to supermodel Irina Shayk for the Vanity Fair Oscars party. On Instagram, Valencia posted a screenshot of a last-minute request , and the process of making a pull like that happen — which he does all the time with the help of his staff and Virgo moon. (For the record, Pechuga is a Scorpio sun and Leo rising, evident in his deeply mystic undertones and great hair.) He regularly gives followers a backstage pass to his process, highlighting the community that keeps Pechuga going behind the scenes, which often includes Latinos and trans women. “I’m so passionate about dressing women and being there for women,” Valencia says. “It spills over to my love for the trans community. I see that connection with marginalized communities, and I’m so impassioned to stand up for people that have been historically neglected.”
Mercy wears Thierry Mugler AW90/91 jacket, Versace SS92 earrings, Saint Laurent heels, Wolford tights, Valentino ring.
Pechuga enthusiasts will recognize Valencia’s two assistants and friends, Priscilla Yael and Sophia Jaime, who make regular appearances on his social channels, along with endearing videos of his grandmother trying on pieces from the shop. What did she think of the Marni X No Vacancy Inn orange raffia hat with cutout sunglasses that Valencia had her wear? “Esta pretty.”
“For a very long time, until recently, she thought it was still a hobby,” Valencia says of his grandmother, whom he considers one of his first mentors. “One day — this was fairly recent — I was like, ‘I’m very stressed out. I have a lot of work.’ And she was like, ‘Why? This is your hobby.’ I had to make the distinction for her. Hobbies don’t pay you. This might be a passion. But I’m working.”
If Pechuga’s Instagram and TikTok are our classroom, Valencia is our teacher in Tabis, doing deep dives into specific eras in fashion history — like Marc Jacobs’ time at Louis Vuitton — or giving context to an item that’s re-entered the discourse, like that Alexander McQueen Dante mask from ’96. But it’s his unboxing videos that are truly addicting, almost as if we, the viewer, were absorbing that surge of dopamine that comes from finally opening up something special we bought off the internet. Valencia has a distinctive, infectious giggle that serves as the soundtrack to these videos. It’s like watching a little kid open a new toy. He holds up pieces he won at auction or scored through private collectors — like the armor jacket from Vivienne Westwood’s ’88/’89 Time Machine collection, or a dress from Thierry Mugler’s fall/winter ’86 collection. “I live for documentation,” Valencia says. “It’s a natural thing.”
Mercy wears Jean Paul Gaultier SS96 top and bottom, Schiaparelli AW21 earrings, Bottega Veneta heels.
Any fashion addict visiting the Pechuga showroom will clock a palpable energy radiating from the clothes — tension, desire, amazement filling the showroom. (Listening back on my audio recording from our interview, I’m pretty sure I audibly moaned when Valencia pulled out a Comme des Garçons latex vest from its fall 2019 ready-to-wear collection. Embarrassing, but valid.) When John Galliano paid Valencia’s showroom a visit last year, he summed it up: “There’s magic here,” Valencia remembers the designer saying.
The way Valencia sees it, he’s only the latest stop in a long journey that these pieces have taken throughout history. “It precedes me,” he says. “Westwood had to make those boots and those shoes. And women in the 18th century had to make those corsets. There’s a lot that’s implied with the items that we see.”
We asked Valencia to give us brief history lessons and share memories of some of the most special pieces in his archive, the grails that still spark that same level of curiosity and desire he had as a kid chasing rare butterflies.
Minji wears Vivienne Westwood Pirate Hat, Saint Laurent pantaboots, Vivienne Westwood SS91 bodysuit, Vivienne Westwood X Louis Vuitton 1996 bum bag, Dilitru “City Ring,” Gucci “Chicken” ring.
Louis Vuitton X Vivienne Westwood Bum Bag (1996)
There were only 100 made. [We have the 84th piece.] Vivienne Westwood made it in collaboration with Louis Vuitton to celebrate their centenary — the monogram was turning 100 in 1996. The shape of it: Vivian took inspiration from the bustle. In essence, she was the designer that brought back that silhouette in 1995. And her logic was that she wanted the silhouette to look like a sketch. She was like, “I want my women to look like croquis.” She accentuated the bum. The bust. In hindsight, everything aligned. The first time I encountered [one], I sold it immediately. [This is the second Louis Vuitton X Vivienne Westwood bum bag Valencia has had in his collection.]
Vivienne wears Alexander McQueen AW98 “Life is Pain” top, Andrew James hat.
Alexander McQueen “Life Is Pain” shirt (Fall/Winter ’96)
That was an ego purchase. I was going through a really difficult time in my life and I related to the message a lot. There’s a fascination with it. I purchased it, got out of the turmoil that I was in. It’s like, pain is inevitable, but suffering is optional. I think the experience you feel when you put something on can be very spiritual because everything has an energy.
Vivienne Westwood Silver Horn Tiara With Orb (Fall/Winter ’05)
It’s interesting, because people think that it has some sort of allusion to the devil but it’s the complete opposite of that. They represent satyr horns. In the ’90s, Westwood took a lot of inspiration from pagans. Even with the draping of her garments, she looked at Grecian and Roman paintings and emulated that style. And one of the things to come out of that exploration were these horns. They represented, for her, fecundity and paganism. It alludes to the horn of plenty — the cornucopia and abundance.
Issey Miyake Plastic Body bodice (Fall/Winter ’80/’81)
I love corsets. I love what they do to the body. And I love Issey Miyake’s intention with that particular collection. One, because it came as a series. In the ’80s, Issey was exploring different materials. He would make pieces out of straw. Then Plastic Body came out. I love the juxtaposition. There’s clearly a feminine aspect to it, or what we attribute to feminine energy. And then the hard exterior. I told myself if I ever find this piece, I have to buy it. It’s probably one of my most expensive pieces — 50 grand.
Vivienne wears Gucci AW17 mask, Saint Laurent AW16 heart coat, Claude Montana X Byronesque tights, Y/Project mini-shorts.
Gucci Silver Mesh Mask (Fall/Winter ’17)
There was such a transition from Tom Ford’s Gucci to Alessandro Michele’s Gucci. To me, it’s embodied in this. Because how do we go from Gucci ’96, the wet look, to this? I mean, it’s also really cool. Rihanna wearing it [to Coachella in 2017] makes it so [powerful].
Minji wears Issey Miyake AW98 dress, Monies necklace.
Issey Miyake Gunpowder dress (1998)
With Issey and Cai Guo-Qiang [the artist who collaborated with Miyake on this Pleats Please collection] there was such an elaborate setting for [the process]. Guo-Qiang set down all this pleated fabric on the floor and put gunpowder on it, then he set it on fire. And the imprint that was left behind was then translated onto the garment, like printing. It’s my mission to tell you about this process because in the moment it was happening, yes, it was quite the spectacle. But it’s gone. And who knows how that conversation was initiated? We know that Issey started the artists series and this was one of the installations. I believe there were four [in total]. What does it mean now to wear it in 2024?
Location: The Wiltern
Producer: Mere Studios
Models: Vivienne Gomez, Minji M., Mercy Rivera
Makeup: Jaime Diaz
Hair: Belen Gomez
Photo assistant: Brandon Young
Styling assistant: Sophia Jaime
A young environmental activist becomes a beaver and integrates into a forest community in Pixar’s Hoppers.
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Disney/Pixar
We’re long past the days when the Pixar brand was a reliable indicator of quality, when every other year or so would bring a new masterwork on the level of The Incredibles, Ratatouille and WALL-E. In recent years, the Disney-owned animation studio has succumbed to sequelitis; I didn’t much care for Inside Out 2 or the Toy Story spinoff Lightyear, and even ostensible originals like Soul and Elemental have felt like high-concept disappointments.
So it’s a relief as well as a pleasure to recommend Pixar’s wildly entertaining new movie, Hoppers, without reservation. Directed by Daniel Chong from a script by Jesse Andrews, this eco-themed sci-fi farce may not be vintage or all-time-great Pixar. But its unhinged comic delirium is by far the liveliest thing to emerge from the company in years.
The movie stars Piper Curda as the voice of Mabel Tanaka, a plucky 19-year-old college misfit and environmental activist who lives in the woodsy suburban town of Beaverton. Mabel is more of an animal lover than a people person. She inherited a love of nature from her late grandmother, and she wants nothing more than to protect her favorite place, a forest glade.
The town’s popular mayor, Jerry — amusingly voiced by Jon Hamm — is trying to ram a highway through the area. But to Mabel’s alarm, the busy beavers who made the glade a haven for local wildlife have inexplicably vanished, and they seem to have taken all the other forest critters with them.
While investigating this disturbing situation, Mabel stumbles on a high-tech experiment that’s being conducted by her biology professor, Dr. Sam, voiced by Kathy Najimy. Dr. Sam calls the program Hoppers, because it allows a single human mind to enter, or “hop,” into the body of a robot animal, which can then pass itself off as an actual animal and communicate with real creatures in the wild.
Against Dr. Sam’s wishes, Mabel hops into the robot beaver and makes her way deep into the forest, where she hopes to convince a real beaver to return to the glade — and bring all the other animals back with it.
What Mabel discovers in the forest, though, is not at all what she expected. She encounters a community that includes birds, bunnies, racoons, a very grumpy bear and, of course, other beavers, including the friendly, somewhat naïve beaver king, George, endearingly voiced by Bobby Moynihan. (The movie takes the idea of the animal kingdom quite literally; the enormous vocal ensemble includes the late Isiah Whitlock Jr. as a royal goose, and Meryl Streep as the most imperious monarch butterfly imaginable.)
Mabel Tanaka (voiced by Piper Curda) is a plucky 19-year-old college misfit and environmental activist.
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George has no idea that Mabel isn’t a real beaver, and he quickly takes a liking to her, even though her efforts to learn why the animals left the glade have a way of getting her and everyone into hot water.
None of this may sound too odd, especially coming just a few months after Zootopia 2. But Hoppers is just getting started; the movie gets funnier, stranger, and more surreal as it goes along. The mind-bending, body-swapping premise has obvious shades of Avatar, which Andrews’ script knowingly shouts out early on.
There are also references to classic horror films like The Birds and Jaws, and for good reason. Hoppers asks the question: What would happen if animals were fully aware of what humans have done to the planet — and suddenly in a position to do something about it? In the final stretch, the film almost becomes a body-snatcher movie, with a level of creepiness that may scare the youngest in the audience, though my 9-year-old laughed far more than she screamed.
I laughed a lot, too; Hoppers is full of funny throwaway lines and oddball non-sequiturs that I expect I’ll hear a hundred more times when it finally makes its way into our streaming rotation. The movie occasionally flirts with darkness, but even Pixar’s daring can only go so far, and its environmental advocacy ultimately lands on an unobjectionable message about how humans and animals can coexist.
That may sound conventional, but it’s borne out beautifully by Mabel and George’s unlikely friendship, which happily continues even after Mabel is no longer a beaver. There’s something fitting about that: for Pixar, Hoppers is nothing short of a return to form.
Jordan Chiles is always in motion.
The decorated gymnast and two-time Olympian recently competed in the latest season of “Dancing With the Stars,” finishing in third place alongside her partner Ezra Sosa. She’s an ambassador for brands including Nike and Hero Cosmetics. In August, she launched a mentorship program called SHERO Athlete Collective for young athletes.
And in the midst of all of that, she’s finishing up her senior year at UCLA.
In Sunday Funday, L.A. people give us a play-by-play of their ideal Sunday around town. Find ideas and inspiration on where to go, what to eat and how to enjoy life on the weekends.
“I’m happy, but I’m also sad,” the 24-year-old says about her final year as a Bruin, adding, “It’s pretty cool to know that my dream school has become my legacy.”
Chiles is also in the thick of a legal battle to reclaim the bronze medal she won, then was stripped of, at the 2024 Paris Olympics. In January, the Swiss Federal Supreme Court granted her an appeal to reexamine the matter. “I’m going to stand for what is right,” she says. “I am doing the things to make sure no other athlete has to go through what I had to go through.”
With the Olympics arriving in Los Angeles in 2028, the question of whether Chiles will participate is top of mind for many fans. Her response?
“Right now, it’s just me and my college career,” she says, flashing a bright smile. “I think right now just being able to be a part of UCLA for my last season and then seeing from there on, from April until the next year, we’ll see what happens.”
Chiles trains every day except Wednesdays and Saturdays, but on her perfect Sunday, she’d skip the gym to hang out with her dogs, take a trip to the mall and binge-watch her favorite shows.
9 a.m.: Gospel music to start the day
I feel like waking up at 9 a.m. is the perfect time because it gives you enough time in the day to do whatever, but also you didn’t wake up too early. The first thing I’d probably do aside from washing my face and brushing my teeth, is put on gospel music or listen to anything that can put my mind at ease. If I don’t have practice, then that’s typically what I’m doing, cleaning my house and starting to rejuvenate my body differently. I’d take my dogs out. I have an Aussie doodle, a teacup poodle and a maltipoo. Their names are Versace, Chanel and Dolce Gabbana. Very bougie dogs.
9:30 a.m.: Breakfast with a side of “Chicago Fire”
I’d cook for myself. I like typical scrambled eggs, bacon, avocado toast and sometimes a bagel. To get in some fruit, I’d drink some apple juice to make it feel like, “OK, this was a great, healthy breakfast.” Then I’d most likely sit on my couch and start binge-watching something. This is where lazy Jordan comes in. Like I got up, I did this, I ate, so now it’s time to relax. I’ve recently been watching all of the Chicago [shows] like “Chicago Fire,” “Chicago PD” and “Chicago Med.” I also recently started rewatching “Pretty Little Liars.”
12:30 p.m. Shop for athleisure and other goodies
This is typically when Jordan feels like she needs to go shopping. I’d put my dogs up and go to the mall. I deserve to go shop. I deserve to go splurge. I like going to the Topanga mall. I really, really like Jamba Juice and there’s one in the Topanga mall. I used to know the secret menu by heart before they started putting it on the actual menu. My go-to is the White Gummi smoothie.
I love streetwear, so if there’s sneaker stores around, I’d check that out. I sometimes end up in an Apple Store, don’t ask me how or why. It just always ends up like that. If I need to get athleisure wear, I always go to Nike. You can never have too many Nike Pros. If I need to get my eyebrows threaded or my nails done, I can do everything at the mall while I’m shopping.
4 p.m.: Time for homework
I’m heading back home so I can beat traffic and let my dogs out. I’d probably sit on my couch, scrolling on Pinterest, trying to figure out what I’m going to eat. Then I’d start doing my homework. Since I am still in college, I’d start whatever I need to do for that week. I try to stay as organized as best as I can because it is hard being a businesswoman and still being a college student. I’d probably do homework for about 2 ½ hours.
7 p.m.: Domino’s pizza and more binge-watching
I’d turn whatever show I’m watching back on, then I’d either cook or sometimes I’ll order in. It honestly depends on what Sunday it is. If it’s football Sunday, you know I have the wings and the typical Sunday vibes. But if it’s not, I might make tacos or Alfredo, or order off Uber Eats. I know this is probably crazy but I really, really, really, really love Domino’s. I am a pizza person. My Domino’s order is a small pepperoni, pineapple, olives and sausage slice … hand tossed, cheesed up, and then I will get a side of garlic knots and a side of buffalo wings with ranch.
If it’s not Domino’s, then I either will do Shake Shack or Wendy’s. I know it’s probably crazy and you’re like “Jordan, you’re an athlete,” but sometimes a girl just has to go in that direction. I like teriyaki food and hibachi places, so I’d either order from a place called Blazed N Glazed or Teriyaki Madness, or this place on campus called Hibachi Papi.
9 p.m. Video games before bed
I have an Xbox and a PlayStation, so sometimes I will go into my game room and just literally sit in my chair and play “Call of Duty” or “Halo.” Other than that, I have no night rituals. I will just make sure my dogs are fed. I always pray before I go to bed and my skincare is legit all Medicube, but I always make sure to do a face mask every other day before I go to bed.
10:30 p.m.: Prepare for an early practice
Since I probably have to wake up the next morning for an early practice, I feel like 10:30 p.m. is a good time to go to sleep. Unless I’m doing something with my friends and we don’t get back until like 11:30 p.m., but other than that, I’m in my bed or at least on my couch just relaxing.
Delroy Lindo is nominated for an Oscar for best supporting actor for his role in Sinners.
Rebecca Cabage/Invision/AP
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Rebecca Cabage/Invision/AP
Over the course of his decades-long career on stage and in Hollywood, Sinners actor Delroy Lindo has experienced firsthand what he calls the “disappointments, the vicissitudes of the industry.”
On Feb. 22, at the BAFTA awards in London, Lindo and Sinners co-star Michael B. Jordan were the first presenters of the evening when a man with Tourette syndrome shouted a racial slur.
Initially, Lindo says, he questioned if he had heard correctly. Then, he says, he adjusted his glasses and read the teleprompter: “I processed in the way that I process, in a nanosecond. Mike did similarly, and we went on and did our jobs.”
Lindo describes the BAFTA incident as “something that started out negatively becoming a positive.” A week after the BAFTAs, he appeared with Sinners director Ryan Coogler at the NAACP awards.
“The fact that I could stand there in a room predominantly of our people … and feel safe, feel loved, feel supported,” he says. “I just wanted to officially, formally say thank you to our people and to all of the people who have supported us as a result of that event, that incident.”
Sinners is a haunting vampire thriller about twins (both played by Jordan) who open a juke joint in 1930s Mississippi. The film has been nominated for a record 16 Academy Awards, including best actor for Jordan and best supporting actor for Lindo, who plays a blues musician named Delta Slim.
This is Lindo’s first Oscar nomination; five years ago, many felt his performance in the Spike Lee film Da 5 Bloods deserved recognition from the Academy. When that didn’t happen, Lindo admits he was disappointed, but he had no choice but to move on.
“I have never taken my marbles and gone home,” he says. “And I want to claim that I will not do that now. I will continue working.”
Interview highlights
On his preparation to play Delta Slim
Various people have mentioned … [that] my presence reminds them of an uncle or their grandfather, somebody that they knew from their families, and that is a huge compliment, but more importantly than being a compliment, it’s an affirmation for the work. My preparation for this started with Ryan sending me two books, Blues People, by Amiri Baraka — who was [known as] LeRoi Jones when he wrote the book — and Deep Blues, by Robert Palmer.
Lindo, shown above in his role as Delta Slim, says director Ryan Coogler “created a sacred space for all of us” on the Sinners set.
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Warner Bros. Pictures
In reading those books and then referencing those books, continuing to reference those throughout production, I was given an entrée into the worlds, the lifestyles of these musicians. There’s a certain kind of itinerant quality that they moved around a lot. The constant for them is their music, so that there is this deep-seated connection to the music.
On being Oscar-nominated for the first time — and thinking about other Black actors, including Halle Berry and Lou Gossett Jr., who had trouble getting work after their wins
I will not view it as a curse, because I am claiming the victory in this process, no matter what happens. … In terms of this moment, I absolutely am claiming, as much as I can, the joy of this moment. I’m not saying I don’t have trepidation, I do. It’s the reason I was not listening to the broadcast this year when the nominations were announced. I did not want to set myself up. But I’m … attempting as much as I can to fortify myself and know in my heart that I will continue working as an actor. I absolutely will.
On being “othered” as a child because of his race
Because my mom was studying to be a nurse they would not allow her to have an infant child with her on campus, so as a result of that, I was sent to live with a white family in a white working class area of London. … I was loved, I was cared for, but as a result of living with this family in this all-white neighborhood, I went to an all-white elementary or primary school. And I was literally the only Black child in an all-white school.
So one afternoon, after school had ended, I was playing with one of my playmates … And at a certain point in our game, a car pulls up, and this kid that I was playing with goes over to the car and has a very short conversation with whomever was in the car, which I now know was his parent, his father. He comes back and he … says, “I can’t play with you.” And that was the end of the game.
On the experience of writing his forthcoming memoir
It’s been healing, actually. I’m not denying that it has opened me up. I’ve been compelled to scrutinize myself. I’m using that word very advisedly, “scrutinized.” It’s a scrutiny, it’s an examination of oneself. But in my case, because a very, very, very significant part of what I’m writing has to do with re-examining my relationship with my mom. And so my mom is a protagonist in my memoir. I’m told by my editor and by my publisher that one of the attractions to what I’m writing is that it is not a classic “celebrity memoir.” I am examining history. I’m examining culture. I’m looking at certain passages of history through the lens of the “Windrush” experience [of Caribbean immigrants who came to the UK after World War II].
On getting a masters degree to help him write his mother’s story
My mom deserved it. My mom is deserving. And not only is my mom deserving, by extension, all the people of the Windrush generation are deserving. Stories about Windrush are not part of the global cultural lexicon commensurate with its impact. The people of Windrush changed the definition of what it means to be British. There are all these Black and brown people, theretofore members of what used to be called the British Commonwealth. And they were invited by the British government to come to England, the United Kingdom, to help rebuild the United Kingdom in the aftermath of the destruction of World War II. My mom was part of that movement. They helped rebuild construction, construction industry, transportation industry, critically, the health industry, the NHS, the National Health Service. My mom is a nurse.
The reason that I went into NYU was because my original intention was to write a screenplay about my mom. I wanted to write a screenplay about my mom because I looked around and I thought: Where are the feature films that have as protagonist a Caribbean female, a Black female, where are they? … I wanted to address that, I wanted to correct that, what I see as being an imbalance.
Ann Marie Baldonado and Susan Nyakundi produced and edited this interview for broadcast. Bridget Bentz, Molly Seavy-Nesper and Beth Novey adapted it for the web.
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