Private Commissions

Madonna Bead Hang

2001

Commissioned by Dah Len for Editorial Photo Shoot, New York, New York
Medium: Antique glass beads, plastic beads, wire
Dimensions: 7 x 7 x 7 ft.
Photograph: Dah Len

Commission Overview
The story of Madonna Bead Hang stretches back long before the commission itself. One of William’s earliest bead creations was a bead hang he began at around 15 years old. He carried it with him for nearly a decade, continuing to add to it while traveling as a model. Wherever he went, he collected beads—from Chicago to Milan to Paris—and integrated them into the work.

When he moved to Chicago at 18, William met fellow model Chris Finlay, who would become a lifelong friend.

By the time he relocated to New York, he was still working on the bead hang, often threading beads on set between modeling jobs. Chris eventually introduced him to photographer Dah Len. One day while William was working on his bead hang in Dah Len’s studio, the photographer mentioned he had recently acquired a massive trove of antique glass beads and suggested the possibility of a commission.

That casual exchange became the seed of Madonna Bead Hang. Dah Len asked us to create a “bead environment” for an upcoming editorial shoot with Madonna.

Artistic Approach
The final piece was a jewel-toned curtain of hand-strung beads weighing thousands of pounds. Using antique glass and plastic beads strung on wire, we created cascading layers of shimmering, light-catching strands that transformed the studio into a sculptural environment. Both backdrop and sculpture, the work was immersive, atmospheric, and structural.

Engagement and Impact
Madonna looked stunning against the piece, and the images appeared on the covers of Ocean Drive and Jane magazines. For William, accustomed to working internationally as a model, being on set with Madonna wasn’t entirely out of the ordinary. For me, it was absolutely surreal.

Context and Legacy
Madonna Bead Hang was a formative moment in our practice: a pop culture commission that unexpectedly thrust our beadwork into a high-fashion, high-visibility setting. It also marked a convergence of histories—the continuity of William’s teenage bead hang, our early years in New York, and a commission that placed our work in front of a global audience. On set we also met the set designer and artist Melissa Kern (MAK), who became a lifelong friend, boss, and champion of our work.