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In college, Pritikin began to work at a fashion casting company during fashion month. There, she began to save up money to buy more Balenciaga. At first, she began to collect non-runway, more commercial pieces. Pritikin’s attitude changed, and she started to curate her collection more and sought out more collectible pieces. “I have to think about the future of my collection and what is going to happen with it. I’m not going to hold onto it forever, so in my head, I am thinking about what is most attractive to a museum or an archive.” To scout for pieces, Pritikin estimates that she spends two to three hours a day trawling resale websites for items to purchase. For items she doesn’t wear, she resells them. “These pieces don’t hold any value sitting in my closet. So it makes sense for me to sell them,” says Pritikin.
Over the years, Pritikin has found a trove of uber-rare items. Most recently, she was with a friend at lunch in New York and had shown them a listing for a Spring 2003 scuba dress that was “priced at a ton of money.” After, they had planned to go uptown, and while en route, she stopped by a local consignment store in Nolita and saw the dress hanging. “I really think it was some sign from the universe that I was meant to own that dress. It was just sitting on the rack,” she says. Her Balenciaga-loving followers have had a hand in her finding some of her favorite pieces, including a chunky knit cream scarf from Fall 2002. A few years ago, a follower on Instagram sent Pritikin a link to a consignment store in Montreal that was selling the scarf. “I was on the phone all day with the store to see if they would send the scarf to the United States,” she says. The scarf, among other items from the collection, has a handwritten number inscribed on an extra tag to show how many were produced.
Pritikin’s love for Balenciaga is anchored in fantasy, tied into the clothing construction and the perspective of Ghesquière. “Nicolas was always so vocal about the character that he was creating with each collection. He always made it clear that they were sort of continuations from each other from spring and summer to fall and winter, back to spring and summer,” she says. “There’s the coolness factor, too, because it was so French. It was so Parisian. Chloë Sevigny and Charlotte Gainsbourg were wearing the clothes. It’s like, ‘I want to be like them.’ They’re these It-girls. They have the ultimate persona of who I want to be. If I wear Balenciaga, maybe I can just accomplish or accomplished even just a sliver of that?’”
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