This work references historical silhouettes—from the petticoat to the delicate ruffles on chimney shades, from Wiener Werkstätte’s whimsical lamps to Murano’s fazzoletto glass. In doing so, the pieces explore the tension of fabric translated into glass: at once hard and soft, opaque and transparent, restrained but euphoric. These forms carry layered histories—once used to restrict bodies and disparage early feminists, yet also reclaimed as symbols of queer resistance, of twirling skirts, and of drag itself. Each light in the collection is named for a historic lesbian bar or cabaret now gone—Maud’s, Mona’s, Le Monocle, Violetta, Lulu’s, Eldorado, and The Duchess.

Each piece is like a skirt caught mid-dance, suspended in the joy of being loud, visible, wild. This collection is an homage not only to antique forms, but also to the act of re-dressing them—turning what once restricted into something that illuminates. As a body of work, FULL DRESS channels the energy of queer space: contained yet abundant.