Digital Media Manager, “Off the Brandwagon”
Aanchal Bakshi is currently the Program Coordinator for the MA in Costume Studies program at New York University, where she is working on developing an archiving system for the in-house study collection. She has worked in the design and public relation departments of Bibhu Mohapatra, and has performed freelance work for costume designer Diego Montoya and Earth Studios. Aanchal graduated with a BFA in Fashion Design from Kent State University, and is currently writing her master’s thesis on the relationship between skateboarding and the mainstream fashion cycle. Her scholarly interests involve subcultural dress through the twentieth and twenty-first centuries.
Communications Officer & Education Officer, “Hollywood and the Home Sewer”
Brian Centrone is an experienced writer and English professor. His current research focuses on menswear, and in particular the role that gender, sexuality, and masculinity have played in subjects such as men’s eighteenth-century breeches. Brian has examined how nineteenth-century anxieties about dress and sexuality impacted the persecution of Oscar Wilde, as well as the establishment of the homosexual stereotype and identity. His interest in the development of men’s suits at the end of the nineteenth century led him to his current thesis research on the origins of the trouser crease. Brian is always looking to fill the gaps in the history of menswear—of which there are many.
Project Manager, “Smuggling Counterfeits”
Kate Fisher is currently pursuing an MA in Library and Information Science at Long Island University in addition to her MA in Costume Studies at New York University. She graduated with a BA in Art History from Drew University, and has had experience working in reference and circulation departments of public and university libraries. Kate has accessioned archival collections and participated in multiple gallery exhibitions in the tri-state area. In 2017, she founded a public gallery space at the Cornwall Public Library. Kate’s research focus in Costume Studies revolves around the influence of the Pre-Raphaelite Brotherhood on the Artistic and Aesthetic Dress movement.
Production Manager, “#FakeItUntilYouMakeIt”
Kerstin Heitzke received her BA with Paideia Honors in Theatre from Southwestern University, where she focused on Costume Design. After graduation Kerstin started her career in retail management, ultimately working in visual merchandising. Having sewn most of her life, Kerstin continues to grow her passion for textile arts, both academically and personally. Her current research interests include craft movements throughout the twentieth and twenty-first centuries and style tribes surrounding country music subgenres.
Editor, “Making a (Costume Jewelry) Statement”
Madeleine Luckel is a regular contributor to Vogue.com, where she previously worked, and a contributing editor at Over The Moon. Currently, Madeleine is an intern at The Museum of FIT, and has held curatorial costume and textile internships at the Philadelphia Museum of Art, The Costume Institute, the de Young Museum, and the RISD Museum. Madeleine received her BA in Classics from Brown University, and is the 2018 recipient of the Association of Dress Historians’ inaugural Madeleine Ginsburg grant. Her research interests focus on the history of Hermès silk scarves and the depiction of flowers in dress and textiles.
Exhibition Designer, “What’s in a Name: The History and Heritage of the Stetson Hat Company
Marisa Lujan recently completed an internship at the Arizona History Museum in Tucson, Arizona, where she inventoried the museum’s costume collection and undertook conservation treatments of nineteenth-century undergarments. She graduated from the University of Arizona with a BFA in Theatre Production: Costume Design. While there, Marisa worked on various projects, including her senior thesis on Hands on a Hardbody and the Alex Cox film Tombstone Rashomon at Old Tucson Studios. Her graduate school research centers on the Western United States, and Arizona in the Territorial Era in particular. Marisa is currently working on her master’s thesis, which focuses on Tucson fashion designer Cele Peterson.
Registrar, “The ‘It Bag’ Under Examination: The Evolution of Authentication”
Carole Schinck is a former print media professional and editor-in-chief of ELLE Québec. For the last ten years, she has helped disseminate knowledge about art by providing freelance editorial services to the Montreal Museum of Fine Arts, notably supervising the editing of the award-winning catalogue for the exhibition The Fashion World of Jean Paul Gaultier: From the Sidewalk to the Catwalk. Carole has interned at the Costume Collection of the Museum of the City of New York, and will intern next summer at the Centre National du Costume de Scène. Her master’s thesis will focus on the costuming of torch singers from the nineteen-thirties to the present day—a topic that encapsulates her dual research interests in the golden era of post-World War II couture and stage costumes of twentieth and twenty-first century female singers. Carole looks forward to pursuing a career in fashion curation and publishing.
Graphic Designer. “Rebranding with Art”
Kate Sekules founded Refashioner, a vintage designer wardrobe-sharing website, after a career in magazine journalism. A lifelong vintage collector, Kate’s research interests lie in vernacular clothing, and in uncovering the untold history of mending. Recently, Kate presented her research on ragged clothing in seventeenth-century genre painting at the Costume Society of America’s regional conference, and completed an internship at The Museum at FIT. She is a contributor to Address journal for fashion criticism and a board member of the UK-based Ethical Fashion Forum. Currently, Kate is working on a book about visible mending and writing her master’s thesis on the darning of stockings in Gilded Age New York.