In the 1980s, when my career as a financier was in full tilt, the worlds of fashion and fine art were undergoing a merger. Fashion photographers began to borrow from the vocabulary of art photography; art photographers started to appropriate the sorts of pop-culture memes and influences, and the emphasis on glossy surfaces and vivid colors, that were so much a part of fashion photography. Though I am a lifelong photographer, this culturally significant crossover helped me discover new ways in which my own sensibility could find its true expression. Since my childhood, that sensibility has embodied an awareness of fashion, and of how fashion can be a part of everyday life. When my mother and father went out for the evening, whether to a party or the movies, they always dressed to the nines. My mother often wore one of her several pairs of long-sleeved opera gloves, itself a deliberate reference to an earlier, more fashion-conscious time and place. In fact, gloves would go on to become one of my obsessions: I have commissioned roughly 350 custom-made pairs, many of them altogether fanciful and decorative rather than practical, and I use them as props in my photographs. As an adult and a working photographer, I understand keenly the value of my mother’s attitude about style and fashion. She knew intuitively that they aren’t reserved for a particular class of people or specific environment, but can be adapted by anyone to create a personal statement that transcends cultural context. This notion informs the images in this series, and has driven both my photography and my endeavors in other fields such as fashion design. If the photographs you see here are inspired by the creative freedom I witnessed in my mother, they are also an attempt to use the language of fashion photography to tell stories. These stories aren’t traditional narratives, though; they have no beginning, middle, or end. They are fancies and fantasies. Yet at the same time, they are very much drawn from the well of my own life experience. That experience manifests itself in these images in various ways: in the presence of strong yet stylish women; in the remarkable modes of dress I’ve observed in my world travels as a photographer and financier, such as the spectacular headpieces worn by traditional women in Bali; in pop-culture references that come from growing up in late 20th-century America, including television shows, advertising, and music; and even in the fairy tales my parents read to me so many years ago. The photographs are also inspired by the great art my parents took me to see as a child, in a blue-collar world where no one went to museums; and by the example of such brilliant contemporary photographers as Kristian Schuller, David LaChapelle, and Rodney Smith. Finally, these images also represent my own belief that photography can be as much a collaborative enterprise as filmmaking, television, advertising, or business itself. When I open my mind to the creativity and aesthetic sense of others, from designers to stylists to the models themselves, the result is richer and more powerful than it would have been had I gone it entirely alone. Through this additive process, my own original vision of an image evolves into something that is always better. Yet in the end, all of this talent, all of this matériel, all of this photographic technology somehow gels into a wholly personal vision--into an image that is mine and mine alone. To me, this creative process and its outcome are a journey towards my true authentic self.