There’s No Space Left in C# Minor

And at long last, here we are.

Over a year in the making: my first truly personal piece of film.

This is a piece unfettered by brand briefs or editorial restrictions or any real third party opinion for that matter. To allow cognitive imagery to flow unfiltered, if you will, is equally liberating and terrifying in its closeness to my person. I didn’t sleep for two days before my first director’s cut screening in Los Angeles, and was just as nervous for the one in New York, which is new for me. In life, I’ve been trained to be unapologetically brazen and confident in my work. But it is a very different thing to believe in and hold out your work as an extension of yourself, than it is to hold out, simply, yourself. In Chinese there is a phrase, 想开 (xiǎng kāi) – get over it, my Mother would say growing up (mostly in relation to perceived public failures) – don’t take it to heart. That’s near impossible when you bare your soul, naked and vulnerable in an oversaturated and harsh terrain of judgment.

Yet, authenticity also means that none of that matters. This film was not made for other people – it was for me to express as exactly as possible how I see sound. Of course, it also represents an intersection of my passions (though I hate the word) and skills that have to date been cultivated quite separately – concurrently, but separately.

But out of the fray, piano remains my first great love.

I think we as a society make a habit of relying on collective indications on how your body should react in an individual experience – when really the answer is always in the individual. Whether it be some person, some trauma, some image, we all, at some point, unknowingly encounter some thing that defines our own spectrum of feeling. So when I say that my musical studies throughout childhood have informed all of my subsequent work in ballet, photography, art direction and now motion direction; I mean that music taught me how to feel, and everything I touch creatively is driven by emotion – sometimes to an irrational degree.



ACT I // Dion Lee top, Kailis earrings

ACT II // Margaret wears: Margiela bodysuit, Streateas Carlucci corset, Rachel Gilbert skirt, Tony Bianco shoes // Kirsty wears: Louis Vuitton // Hannah wears: Prada // Amberley wears: Dion Lee // Ella, Julia and Jena wear: Gucci // Sophia wears: For Love & Lemons // Akiima wears Zimmermann and Christopher Esber // Headwear by Christie Nicolaides // Eyewear by Barton Perreira

ACT III // Margaret wears: Camilla and Marc, DVF, Bassike, A.L.C., Sleeping with Jacques, Nanushka

  • Zaahira Y’elena Mahomed

    I have no words. You are so much. Too much.

  • Absolutely beautiful video & post! ????????❤️????

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  • Ziqi Lin

    Hi Margaret, this made me sob tears of joy for you. Having followed you since your (and my) teenage years, you are indubitably my greatest source of inspiration and the reason why I do what I do now. You are certainly IMO a 21st century creative giant, someone whose influence will stand the test of time even long after you and I have gone to dust. I can’t imagine what you put yourself through to do the things you do, but because of that you burn like a flame brighter than any I have ever seen. Sending you my endless river of love, Zikki.

  • love love love. well done music buddy x

  • LAE

    My instinctive reaction to hearing classical music for the first time is always to sketch the images that unfold as the song is playing, or write down the impressions I get and emotions I feel as the song is playing. I find the visual visceral response in Act III – a blend of abstract imagery and intriguing visuals an incredibly fascinating insight into your brain ( : I also relate to the idea that in creative arts, your method of emotional expression is somewhat ‘defined’ by that first love as you say — every other creative experience is built on that foundation of whatever ‘language’ you learned to feel in. (tiny side detail: short pianist nails!).

    Something interesting also happens when you mute Act III and play the Chopin piece over the top – there are parts that match up really really well – was that a consideration at any point? And I suppose why the particular choice of music for Act III? I’ve always thought of you as a modern Renaissance woman and you continue to inspire me through how you forge new creative paths with such care and professionalism. It’s hard to stand out in information-overload but you do, every time. Thank you for sharing and wishing you well for future video journeys ( :

    – Christina

  • Firstly, can I just say, wow. Congratulations on a fabulous first film. I truly appreciate that this is something that really is an extension you, your soul and your creative process and the rawness of that truly does come through in the wonderful imagery and the fabulous music. You play beautifully. As someone who was also truly moved and inspired by the arts as a child I find something very relatable in this whole process – it moves me. There is something so creative and so emotive through this whole scene and it really just reminds you how music, movement, art has such an impact on who we are and what we feel. I began to feel things that I just cannot put into words. This is so moving and I cannot wait for your next one.


  • Naty Diaw

    this is gorgeous!

  • Margaret you are such an inspiration to me! I love that you’ve found a place that allows so many of your passions to converge and presented the final creative product to the world.

  • i m always interested in pic with mirrors, so nice effects

  • Blvck Bee

    This is amazing Margaret! So many things come in mind when I see this I can’t wait to see more of your content!

    Blvck Bee

  • richie cheung

    This is so amazing and inspiring. Great content.

  • Maia Dori

    Margret I have been following you since “shine by three” began and I typically never right comments on anything on social media but I am completely blown away, not only by the short film but by the courage to produce something solely for yourself. We constantly search approval from others and putting out something that is a true personal expression of how you see things and also invokes such strong emotion, at least for me, is so incredibly inspiring. Thank you for sharing it with me :)

  • Pallavi Juneja

    The video links says Video not available – are there country restrictions on the video? I’m from India & I really want to see it, if it’s possible. :)

  • Ferbena Makeup & Fashion

    That’s so lovely.

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  • Bontom

    Pretentious twaddle. Worst piano playing ever.

    • Padma77819


  • Great work. Gorgeous & most Fabulous look with outstanding outfit .

  • defitsu
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  • Love your work! Keep doing you!

  • im in awe <3

  • wow wow!!!!
    this are fantastic! very very nice!!!!

  • Rebar

    The whole thing is self-indulgent.

  • Danni

    Love your work!

  • Linda

    Magical. I love your pictures.
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  • I myself, am a classically trained pianist and flautist. I love how it wasn’t technically flawless, but what mattered most were your emotions, which were are so raw when performing the piece in Act 2! Also, what a brilliantly produced film! Love the surrealist dreamscape in the Third Act, especially. In fact I’ve actually done an analysis for the film, in my Personal reflections post right here

    Keep up the brilliant work! xx

  • Bernice Abuan

    Always blown away by your eye for attention

  • Rasha | The Famous Faces

    Love the title!


Margaret Zhang 章凝 is an Australian-born-Chinese filmmaker, photographer, consultant and writer based between New York and Shanghai. Since establishing her website in 2009, Zhang has gone on to work with global brands including CHANEL, Swarovski, YEEZY, Bulgari, Gucci, MATCHES, Under Armour, and Louis Vuitton in a wide range of capacities both in front of and behind the camera, while completing her Bachelor of Commerce/Bachelor of Laws at The University of Sydney. Zhang’s directing, photography, and styling has been employed by the likes of VOGUE, L’Officiel, Harper’s BAZAAR, NOWNESS, and ELLE internationally. She has been listed in Forbes Asia’s 30Under30 and TimeOut’s 40Under40, and her work has been recognized as shaping the international fashion industry by the Business of Fashion BoF500 Index for four consecutive years. CNN has identified Zhang as a leading fashion photographer in Asia and ELLE named her the region’s most influential digital voice. She went on to be the first Asian face to cover ELLE Australia. In 2016, she co-founded BACKGROUND, a global consultancy for which she specialises in Western-to-Chinese and Chinese-to-Western cultural bridging for a range of luxury, lifestyle, and brand initiatives. In 2017, she exhibited a series of 39 unseen photographic works as a solo show in Sydney, and premiered her first short film – a 15-minute exploration of her visceral relationship with classical music on both performance and abstract planes – to critical acclaim. In 2018, co-curated the first annual FOREFRONT Summit focused on inter-industry problem-solving at all scales of business. From this king summit, Zhang developed FOREFRONT+ – a round table series of candid conversations covering subject matters of universal concern. In 2019, THE FACE Magazine engaged Zhang as Creative-Director-at-Large for Asia for its relaunch. Zhang is currently working on her first feature film.


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