TELL: So Denimani, looking back at Time and Time Again, how did the installation come together? What inspired the approach you took?

Denimani: Honestly, it unfolded pretty naturally from living at TELL. Being in that space—it was calming, grounding—but at the same time, I was going through a lot internally. I wanted to create something visual that captured both that stillness and the chaos I was holding onto. The installation became a reflection of that emotional duality.

TELL: Was the collection already in motion before you moved in, or did the space shape what it became?

Denimani: A bit of both. I knew I’d be building a collection for the season, but I didn’t know what it would look like. Living at TELL gave me time to study new ideas and pull in references that I might not have otherwise come across. Even you—sharing books, images, stories—helped influence my thinking in ways that seeped into the work.

TELL: The show reflected a clear departure from the traditional fashion cycle. You looked back at prototypes, archived pieces, and brought those into conversation with new work. How did that retrospective influence your practice?

Denimani: I’ve never really followed the traditional calendar. I move at my own rhythm. But this show made me more aware of time - how long it really takes to build a collection, prepare it, share it. It definitely changed the way I think about process and planning for the future.

TELL: You built the collection around a made-to-order model. What did that mean for you as a designer?

Denimani: It was a practical choice, but also a creative one. I worked with a local fabric jobber, so many of the materials I sourced were one-of-a-kind or end-of-roll. That meant I couldn’t mass-produce even if I wanted to. Made-to-order allowed me to create intimate, unique pieces and also helped me manage the business side more sustainably.

TELL: And being in the Midwest. How did that influence things?

Denimani: The Midwest gave me space. There’s a certain quiet here that lets you develop your voice without too much outside noise. But at the same time, the lack of infrastructure for fashion was real. That created challenges—but it also pushed me to get creative with how I worked and how I showed up. I think that’s part of what made Time and Time Again special.

TELL: You also collaborated with a number of artists across disciplines—photography, painting, illustration. What did you take from those collaborations?

Denimani: It was powerful. Working with people like Alana, Billy, Flahn, and Elena showed me new ways of thinking. Everyone brought their own language to the space. Being around that level of care and craft—it sharpened my own process. I learned a lot just by being in dialogue with them.

TELL: Do you think this experience at TELL shifted the way you think about your work moving forward?

Denimani: Definitely. It reminded me that fashion and art don’t need to live in separate worlds. They feed each other. And this show gave me the space to see how all of those parts—design, storytelling, collaboration—can come together in a way that feels whole. That’s something I’ll carry with me.