Ann Binlot: You began your career in fine arts and academia. How did that early training inform the way you see the world and your approach to creativity today? 

Isolde Brielmaier: My parents were very interested in arts and culture. I grew up in Seattle, and they made every effort to introduce my younger brother and me to different cultural experiences. We saw mini versions of Shakespeare plays, went to the Seattle Art Museum, and experienced contemporary and African art. I started dancing when I was about 7; it was a huge part of my youth and formative years. When I think about what I’m doing now, that start in dance encapsulates many key elements—creativity, expression, building community and audiences, hard work, discipline, and visibility. As a young Black girl in a predominantly white art form, I thought early on about what it meant to be visible, and what it meant to be an artist. 

Binlot: Did you want to dance professionally, or did you know that it was going to stop and you had to have a plan B? 

Brielmaier: I wanted to be a dancer, but I also came from a family that took education seriously. The deal with my parents was that I could dance as long as I wanted but I still had to complete my studies. I realized in my late teens, as I was dancing and going to school in New York, that there was a lot that interested me beyond dance. When I was in my mid-twenties I worked at the Guggenheim Museum, where the late Okwui Enwezor took me under his wing. That experience catapulted me into graduate school and later my PhD at Columbia in art history and theory. I always knew I wanted to be around creative people. There was something special about artists: how they live, how they see the world, how they respond to their environment. After graduate school, I started teaching and working directly with artists to create platforms to present their work. 

Binlot: How was the art world different when you first started?  

Brielmaier: The art world, like every field, has changed and evolved. When I was coming up, there were not as many people that looked like me. The definitions of what art was and what an artist was were tighter, more narrow. I found my people, those dedicated, committed, hardworking, and focused on honing their craft and being seen. I always like to shout out the trailblazers on whose paths I’m walking: people like Deborah Willis, Thelma Golden, Carrie Mae Weems, Lorna Simpson. They were actively pushing to develop their work and skills, and to establish platforms where their work could be visible. They are also women who take mentoring, both formally and informally, seriously. They were aware of the role they played, not only for themselves as artists, but for others like myself, younger folks, especially women, who were watching, learning, and inspired by them. 

Binlot: Your work spans curation, cultural leadership, and community building. What connects all of these different facets? 

Brielmaier: What’s interesting about curating is that you are working with artists, collaborating to bring their vision to life and doing it in a way where you are thinking about the fact that people are going to come and see this work, so it almost becomes choreography. That’s how dance comes to bear on my work. This also ties into scholarship and education. When you present artwork with an artist, you’re thinking about how to open up as many points of entry for people to engage with and appreciate their art. It’s also a process of education, particularly for audience members that don’t go to these spaces often. In terms of leadership, this is something I’ve become more interested in in the last 10 years as I’ve grown as a professional and a person. I really think about audiences because at the end of the day, we’re talking about taking care of others. For me, leadership is not about being in charge but about caring for those in my charge. What does it mean to work collaboratively, to partner with people collectively to create something, to build an exhibition, a project? How do we do that where everyone feels heard and seen, and we tap and leverage all the diverse gifts that people bring to the table? It’s a journey, and I find it fulfilling because it’s a constant process of educating, being open, and thinking about working with people rather than having people work for you. 

Binlot: At W.O.A.H., you’re helping to redefine how people experience and engage with art and innovation. What has been the most rewarding part of the journey so far? 

Brielmaier: You could call it a company, or a platform, but it’s a space. The idea is, how can we bring art, culture, business, and purpose together in a way that has impact, builds community, centers artists, but also centers community? The synergy around how powerful I believe art and culture are is undeniable. 

Binlot: New York has clearly shaped so much of your story. 

Brielmaier: It’s been really good to me. It’s taught me a lot, and it also inspires me. I’ve had highs and lows. I’ve always been able to bounce back. I love that New York is a smaller slice of a bigger world. I think of myself as a citizen of the world. I spent time overseas; my family lives all over. I love to travel, and if I’m not all over the world experiencing other cultures, I can do that here. I feel at home in the city. It’s a privilege to be here and feel like I’m thriving. New York reminds us that there are many people from many walks of life, and it is a wonderful city to think about how I can pay things forward. 

Binlot: What does the city give you that you can’t find anywhere else? 

Brielmaier: It’s an incredibly unique place with the rich imprint of all the people and communities here. It’s taught me resilience, fortitude, patience, humility, gratitude, and the importance of empathy and compassion. 

Binlot: How do you recharge or find inspiration in such a fast-moving environment? 

Brielmaier: I live in Brooklyn off Prospect Park. I am in that park five or six days a week. Nature is calming and replenishing. Being present, noticing small things. There are sunsets and sunrises in Brooklyn. When you pause and take it in, it’s a beautiful thing. 

Binlot: Theory is a brand built on modern simplicity and purpose. What does it mean to you personally? 

Brielmaier: My first suit that I interviewed in after I graduated from Columbia was a Theory suit. I saved my pennies to buy it, and I wore that suit for years. 

Binlot: How does Theory’s clothing fit into your everyday life now? 

Brielmaier: I went to the ballet on Wednesday. I wore a Theory men’s tux, and that’s all I needed to put on. I value that sustainability is central to Theory—I try to think about where my clothes come from and how that impacts people and places. 

Binlot: For younger creatives or cultural leaders who look up to you, what advice would you offer about building a career that’s both meaningful and sustainable in the art world? 

Brielmaier: Do your personal homework as much as possible. Check in with yourself, how you’re feeling, what you’re thinking, what your body is telling you, what stories you’re creating yourself, and use that as you move forward to figure out how you can show up fully and most authentically in the world as you keep your eye on your passions and what makes you tick. Be thoughtful, be kind, be compassionate, and hold on tight to your joy. 

Photography: Victoria Hely-Hutchinson 

Fashion: Ian Bradley

Photo Assistant: Alec Vierra

Fashion Assistant: Trey Hemmings

Hair Stylist: Cassandra Normil 

Makeup Artist: Whittany Robinson at The Only Agency

Production: The Morrison Group.