Local Pilates instructor returns home after Miami Dolphins stint

Millbrook resident Jackie Bachor hugs her horse, Dessie, during a tour of her barn and Pilates studio on Tuesday, April 21.
Photo by Graham Corrigan


Millbrook resident Jackie Bachor hugs her horse, Dessie, during a tour of her barn and Pilates studio on Tuesday, April 21.
MILLBROOK — Local Pilates instructor Jackie Bachor has led a career that has taken her from rural upstate New York to Miami and back again — where she is forging a new path that blends her passions for fitness and equestrianism.
Now standing in the sun-drenched studio space of True Pilates Millbrook, Bachor has found space for both. The studio doubles as a stable loft, looking down on Bachor’s horses Dessie and Sammy. When Bachor points around the space to identify Pilates equipment, it’s as if she’s naming horses. At the center of the room is the Cadillac, a raised bed with overhead bars. To the side sits the Barrel, an arced apparatus designed for optimal spinal mobility.
By the far wall sit two Reformers, padded tables with a variety of appendages. It’s on the Reformer that she’s trained pro athletes for years, shocking some of humanity’s biggest muscles with deceptively simple exercises.
“Pilates smokes out all the weaknesses in your body,” said Bachor. “It removes compensatory movement. When we get out of bed in the morning, we compensate.”
Bachor made a career out of Pilates that took her down to Miami to work for the Miami Dolphins NFL franchise, where she was responsible for helping players prevent and work through injuries during the regular season.
One of the other strength coaches, Wayne Diesel, put it to Bachor this way: “He said, ‘you’re not afraid of big movements and you’re really patient. If you can convince a 1,200-pound animal to do things your way, what’s a 300-pound guy got on that?’”
But long before Bachor started training NFL players like Antonio Brown, Jaelan Phillips, and Kenny Stills, she trained horses. Bachor was just four years old when her namesake Aunt Jackie introduced her to the equestrian lifestyle. There’s a photo on Bachor’s desk marking the moment: a tiny child dwarfed by her steed, all grit as she approaches a jump.
Two of her horses, Dessie and Sammy, greet her with head bobs and whuffles when Bachor enters the barn. Dessie has recently recovered from a serious injury, and Bachor spent long stretches in his stable during the recovery, playing opera through the speakers. “That’s why he’s so opinionated,” Bachor laughed as Dessie bobbed and shook his head. “He still thinks I should spend four hours a day with him.”
During her early years growing up in Boiceville, New York, however, keeping horses was both a passion and unsustainable. “Unless you’re really talented or you have a lot of money,” Bachor said, “you don’t get that far in the horse business.”
Still, she was able to make it work for a time. Bachor organized hunting trips in Hyde Park, and helped run a stable with her partner at the time. When the relationship ended, however, the bills started piling up. “I had all these horses and I didn’t have any way to pay for them…it was a really low point in my life.”
That’s when Bachor’s sister introduced her to Pilates. It was a comfort, both physically and emotionally. Bachor decided to become an instructor, making trips into Manhattan to train under the first lady of Pilates, Romana Kryzanowska. Kryzanowska was a protégé of founder Joseph Pilates, and is largely responsible for promulgating the practice after Pilates passed away in 1970.
When another instructor asked for help introducing Pilates to a string of Equinox fitness clubs, Bachor jumped in with both feet. “My work ethic from the farm and the horses really helped me out,” she said. “That made me very popular with the managers when they saw the numbers. I was just trying to survive.”
After a session training the NBA player Jayson Williams and NFL running back Curtis Martin, Bachor started to earn a reputation among pro athletes. “I remember Curtis saying to me, ‘I should have done this when I was playing,’” she said. “‘This would have helped me so much.’” Soon Bachor was getting opportunities to teach outside of New York.
One such offer meant moving to Miami—and giving up her horses. “I had to walk away from it,” Bachor said. “I remember saying to my Aunt Jackie, who got me involved in horses in the first place, ‘Oh, that yoke is off my neck.’ And it broke her heart, but I truly felt that way at the time.”
Once again, Bachor fully committed. This time, it was to her new Miami lifestyle. She found an apartment by the beach, bought roller blades and some five-inch heels, and started networking. But initially, the work didn’t come. “I had to build this business up from nothing,” said Bachor. “I didn’t have any friends, and I didn’t really care for the woman that I was working for…that was a whole other kind of low.”
That started to change after Bachor helped a linebacker named Kelvin Shepherd with his untreated scoliosis. The strength coach took notice, and asked who had helped Shepherd heal. When Shepherd told him, a chorus of other voices from the locker room sang Bachor’s praises.
Soon after, Bachor got the call: the Dolphins wanted to hire her as a Pilates instructor for the season. She squeezed a Reformer machine into the back of her truck and set up shop at the practice facility.
At first, the brutality of the sport was jarring. “When the team brought me in, they said, ‘These guys go through a car wreck on Sunday,’” she remembered. “We have six days to put them back together for the next car wreck and we have to do that for 16 weeks. Can you help us?’”
But even though Bachor had been hired, there was no guarantee the Dolphins themselves would take to Pilates. Back then, it was unfairly typecast as a woman’s workout. And the players could be unpredictable, skipping sessions or suffering injury. “The first person that came in to work with me was Kenny Stills,” Bachor said. “He knew that I needed support, and he was that kind of person.”
Bachor soon found other ways to drum up business. “Anybody that won the Super Bowl got free Pilates the next offseason,” she said. “A couple of the guys took me up on it.”
Pilates began to take hold across the league. As her career flourished, Bachor returned to her love of horses and riding. She built a barn back home, but could only enjoy it from afar. “I started to realize how much of that was who I am,” she said. “South Florida wasn’t the right place for that.”
For a while, the Dolphins continued to fly her to Miami on a weekly basis. But the NFL is a notoriously thankless employer. Look no further than some of Bachor’s clientele: Antonio Brown, after nearly a decade as the league’s top receiver, was repeatedly injured and dogged by controversies. Kenny Stills faced backlash after kneeling alongside Colin Kaepernick in protest of police brutality.
Then in 2025, the Dolphins started the season 2-7 and shuffled their coaching staff. GM Chris Grier was out. With him went the strength coach — and Pilates advocate — Dave Puloka. Jackie Bachor’s weekly flights to Miami came to a halt.
“Sometimes you let go of one dream to chase another,” she said from the studio loft of True Pilates Millbrook. The room is lined with signed photos of Bachor and the pros in training. Wide windows overlook the horses in their box stalls, and beyond them barn doors open onto horses grazing in rich green paddocks. Laughter echoes up from places unseen. Bachor shares the space with a few other horse owners, and good vibes abound.
“It’ll be the first year that I’m not doing anything football-related,” Bachor said. “That was great for my resume, but boy, it was tiring. I would fly out on a Monday afternoon and come back Tuesday night.”
Now that’s time spent at the stable, or out with the local hunt club. Bachor has also started designing Pilates workouts specifically for equestrians. “You have to be able to control your body,” she said. “It’s very hard to do that when you’re on a moving target.”
Bachor is also looking for opportunities to teach for free. It’s a habit she picked up at Miami’s Lotus House, the largest women’s shelter in the country.
“They weren’t athletes, but they tried really hard and they loved it,” Bachor said. “They loved that somebody was coming to do something fun with them, and trying to make them feel better. Because I’ve been there.”
Graham Corrigan
North East Town Hall will be open on Thursday, July 2, for people who need a cool place to sit and sip water. The Town Hall is located at 19 N. Maple Ave. in Millerton.
Community cooling centers are opening across Dutchess County as extreme heat brings temperatures into the high 90s.
Many libraries, town halls and community facilities are serving as cooling centers, offering air-conditioned spaces, drinking water and restrooms. Temperatures are expected to reach triple digits in some areas of the county this week.
The centers will not be open this weekend. All locations will be closed on Saturday, July 4, and Sunday, July 5, for the holiday weekend.
Northeast-Millerton Library, located at 28 Century Blvd., will be open and air-conditioned during its normal business hours — 11 a.m. to 6 p.m. — Wednesday, July 1, to Friday, July 3. The North East Town Hall, at 19 N. Maple Ave., will be available as a cooling center Wednesday, July 1, and Thursday, July 2, between 9 a.m. and 5 p.m.
The Pine Plains Community Center, located at 7775 S. Main St. above the Pine Plains Free Library, will be open 24 hours a day from Wednesday through Friday. The Free Library downstairs is open noon to 6 p.m Friday, and Town Hall, at 3284 Route 199, is open 8 a.m. to 3 p.m. on Wednesday and Thursday.
The Stanford Free Library, located at 6035 Route 82, will be open Monday through Friday from 9 a.m. to 7 p.m., and Stanford’s Town Hall at 26 Town Hall Rd is available from 8 a.m. to 1 p.m. on Monday through Friday.
Extreme heat can cause dehydration and heat stroke. Residents are encouraged to remain inside or under shade whenever possible and drink plenty of water.
D.H. Callahan
On Thursday, June 25, a collection of eager art enthusiasts gathered at Olana State Historic Estate in Hudson to kick off the seventh annual Upstate Art Weekend (UAW).
Helen Toomer, founder, was joined by sculptors Ellen Harvey, Jean Shin and Gabriela Salazar to discuss their work and the legacy of painter Frederic Church. Church, whose 200th birthday is being celebrated this year, is widely credited as one of the founding members of the Hudson River School of painting. The discussion took place at Olana, Church’s grand estate, where the three artists’ installations are on view.
Church’s status as an early environmentalist was mentioned repeatedly during the conversation. Shin’s sculpture “Fallen,” which graced the lawn next to the estate’s main house during last year’s event, featured a fallen hemlock tree trunk planted by Church over 150 years earlier which had been wrapped in tanned leather. She described the work as a direct reference to Church’s experience witnessing the eradication of the area’s hemlocks as the leather tanning industry wreaked havoc on the natural environment of the Hudson Valley in the mid-19th century.
The relationship between art and the environment wasn’t isolated at Church’s former home. Instead, it seemed to be found all over UAW.
Now in its seventh year, UAW works to take the art world out of the city. At its best, the weekend gives artists and curators the opportunity to interact with unfamiliar environments. Just as often, however, it serves as a literal escape, allowing New York City galleries to bring works to pop-up spaces assembled for the express purpose of displaying fine art. The “Loading…” group show in Hudson did just this.
Transplanting six New York City galleries into an intimate event space, “Loading…” featured a wide variety of artists from around the globe. Sheroanawe Hakihiiwe, an Indigenous artist from Venezuela, takes ancient practices and translates his observations of the Amazon into minimalist works. Michael Assif’s “Plant a Weed” highlights the human impact on a natural landscape while feeling like a marshmallow dream. And Margaret Curtis’ “ ‘S ” uses the backdrop of a Hudson River School-style sunset to highlight the chaos of today’s state of the American dream.
The flip side of this art-world field trip is the variety of makeshift galleries in the garages and barns of the Hudson Valley. Places like Ugly Mud Studios and Ten Barn Farm, both in Ghent, along with Foxtrot Farm and Flowers in Stanfordville, housed unexpectedly refined exhibitions. These venues all integrate sustainable practices into their business: Foxtrot is a regenerative flower farm, Ugly Mud uses locally sourced clay, and Ten Barn Farm operates a farm-to-table restaurant called The Kitchen.
But at the end of the day, UAW is about getting the art world into the wild. So it was no surprise to see a panoply of eye-catching outfits, and out-of-this-world works at Art Omi, the sculpture and architecture park in Ghent, on Saturday evening. Complete with avant-garde ambient operatic metal, the Summer Kickoff event served as a testament to the continued growth of UAW. It seems the seeds that Toomer and her collaborators planted seven years ago are flourishing, with no signs of slowing down.

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Jennifer Almquist
Benjamin Reynaert
Creating a home is, at its core, an act of love.
— Benjamin Reynaert
Benjamin Reynaert is focused on creative direction and interior styling. He is market director at Elle Décor, a design consultant, and author of “The Layered Home: Inspiration for Crafting Cozy, Collected Rooms,” published this year by Clarkson Potter. He co-founded Ticking Tent, a market featuring antiques, luxury items and vintage treasures. The biannual event is held in New Preston, Connecticut, and Bedford, New York.
Adopted from South Korea at 3 months old, Reynaert grew up in Bloomfield Hills, Michigan. He always knew he wanted to be an artist. “I just loved drawing. I loved making things with clay,” he said. “Remembering what it felt like to be creative as kids and applying that to our creativity as adults is essential.” A graduate of the Rhode Island School of Design (RISD), where he earned a BFA and a degree in architecture, Reynaert also studied bookbinding in Rome. His attention to detail and aesthetic sense reflect years of training and a finely tuned eye for objects. “Attending RISD nurtured my creativity and taught me how to problem-solve,” he said.
His career began at Martha Stewart Living. A contributor to Architectural Digest, Elle Decor, House Beautiful and Veranda, Reynaert has also served as style director at Domino. He has worked with Farrow & Ball, Chairish, Neiman Marcus, Sunbrella, Anthropologie, Gap, Bunny Williams Home and Stella Artois. He shares his work on Instagram via @aspoonfulofbenjamin.
“I’ve been fortunate to travel the country and abroad for Elle Decor, covering design fairs and trade shows like Deco Off in Paris, London Design Week in England, Cersaie Tile Show in Bologna, Italy, High Point in North Carolina and the Kitchen and Bath Industry Show in Las Vegas,” he said. He is drawn to unique objects and textiles. “As a market editor, the pieces that stick with me are not the newest. They are the ones I stumble upon and imagine living with.”
Reynaert is also co-founder of Ticking Tent with Christina Juarez, president of Christina Juarez & Company. The biannual event has become a destination for collectors and designers seeking curated antiques and design objects.
“I met Ben about 15 years ago when he was a young design editor and I was early into my career as a design communications strategist having switched gears from the fashion world," Juarez said. “We immediately clicked. I was impressed by his multidisciplinary creative talents — styling, writing, vision and impeccable eye — and his passion for the thrill of the hunt. I could not ask for a better partner and friend — my brother from another mother — and a yin to my yang. Two creatively minded people with a love of old and new beautiful things, and the ability to curate what the luxury shopper doesn’t know they need and most definitely wants.”
Reynaert described the most recent Ticking Tent as the largest yet. “We hosted over 2,000 guests and transacted our most sales to date with 75 vendors,” he said. “The most exciting part is seeing friends and watching new connections being made. I’m excited for the next event, Nov. 13–14, in Bedford, N.Y.”

For Reynaert, objects are defined as much by narrative as by design. “An object is about the story — whether it’s passed down in your family, something you worked hard for, bought on a trip, or a friend gave you,” he said. “With that added narrative, it doesn’t need to be the most aesthetically pleasing thing. The memory attached makes it beautiful. I like the idea of simple, seemingly insignificant items having a ton of meaning. Treat a thrift store painting as you would a Picasso.”
Greg Domres and Peter Nichols’ residence in Litchfield, which they share with their miniature schnauzer, Bunny, is one of 15 homes featured in Reynaert’s book, “The Layered Home.” The couple hosted a book signing at George Home in Washington Depot. “I first met Ben at press events during my time at John Derian,” Domres said. “We became friends and stayed connected professionally over the years.”
The book spans interiors from Eric Goujou’s shop The Wolf Tile in Paris’ 5th arrondissement to textile designer Schuyler Samperton’s Litchfield farmhouse. “Sharing the stories of talented, stylish people I’ve met during my tenure in magazines has been a privilege,” Reynaert said. “The most inspiring interiors are layered — with personality, patina and the poetry of a life lived. This book is my love letter to that idea.”
Reynaert said he would like to travel to Japan and Australia and hopes to develop his own product line in the future. “Balancing work and life is a challenge,” he said. He spends downtime with his husband, Luis Illades, in Delaware, where they are renovating a Victorian home.
“I feel incredibly fortunate to blend my work and my life in the home I share,” he said. “Creating a home is, at its core, an act of love.”
Natalia Zukerman
Mickalene Thomas and Delano Dunn at Wassaic Project.
Before “Echoes in the Margin,” Delano Dunn’s new solo exhibition at Troutbeck in Amenia opened, the artist sat down with curator and artist Mickalene Thomas for a conversation at the Wassaic Project on Wednesday, June 24. Their wide-ranging discussion offered an intimate look into Dunn’s practice while situating the work within broader questions of history, memory and representation.
Presented by the Wassaic Project, the exhibition brings Dunn’s richly layered paintings into conversation with Troutbeck itself, the historic estate long associated with artists, writers and civil rights leaders, including W.E.B. Du Bois, Langston Hughes and many more.
Thomas, an artist whose multidisciplinary practice spans painting, collage and installation, first met Dunn when she was his graduate adviser at the School of Visual Arts. “I think your work needs to be out there more,” she said, noting the urgency of this collection in the current socio-political moment.
Dunn’s layered collages often begin with an image unearthed from flea markets, used bookstores and forgotten archives.
“I go to secondhand shops, old bookstores, any place that looks like it has history in it,” he said.
Sometimes, he explained, an image becomes the centerpiece of a work. Other times it simply sparks an idea.
“There’ll be an idea that pops into my head. I’ll read something or hear music or a lyric, and then I’ll think, ‘I’ve got to find an image that matches that.’”
His color palette also carries its own history.
“I grew up in L.A. during the L.A. riots,” Dunn said. “I would sit on my porch as a kid. I was watching the neighborhood burn, but the sky was beautiful.”
He still paints with those saturated blues, reds and oranges.
“Color can transport you. Color can make you feel safe, or happy or scared,” he said. “Those colors made me feel safe.”
For Dunn, Troutbeck’s own layered history became an active part of the work. Learning that the estate had hosted W.E.B. Du Bois, Langston Hughes, Ida B. Wells and generations of civil rights leaders informed his direction.
Dunn was given access to Troutbeck’s archives and found handwritten notes by Langston Hughes, and writings by Du Bois and Wells that found their way into the exhibition.
“There was a letter between Amy Spingarn and Martin Luther King Jr.,” Dunn recalled. “To be in its presence and hold it... you don’t see communication like that every day.”

Much of Dunn’s work invites viewers to dig deeper into history rather than accept simplified narratives.
“I want them to look at it and go, ‘Wow, this is really amazing and interesting and colorful and beautiful,’” he said. “And then I want them to be terrified shortly after that.” He accomplishes this through bold, colorful, and often playful compositions that draw the viewer in before revealing their more complex historical underpinnings. As Thomas wrote, “Dunn’s compositions invite viewers to sit within that tension and take it in.” That impulse toward deeper investigation extends to Dunn’s own children, who are often his first audience.
“They’ll ask, ‘What is this? Why does this person look the way they look? Why are you using that color? Why are you using glitter?’”
Those conversations, he said, become lessons in looking beyond appearances.
Thomas framed collage itself as a kind of storytelling practice —“the gathering of information… piecing things together”—and praised Dunn’s ability to translate research, memory and visual pleasure into a unified language. She also underscored the importance of creative joy in the process. “If you’re going to your studio and you’re not having fun,” she said, “you shouldn’t be doing it.”
Dunn said one of the biggest misconceptions he hopes to challenge is the idea that there is a monolithic Black experience.
“There are so many different perspectives out there. This is just one of them,” he said. In the same breath, Dunn said he adopts the label “Black artist” because “it would make my Grandpa proud.”
The nearly two-hour conversation shifted seamlessly between humor and history, studio practice and social commentary, ultimately returning to what both artists believe art can accomplish: encouraging curiosity, complicating familiar stories and inviting viewers to question what they see.
As Dunn put it, “History is so much more nuanced than what we’re taught. There’s so much more going on below the surface.”
Millerton News
Crescendo, the Lakeville-based nonprofit specializing in early and rarely performed classical music, is taking a deep dive into the works of Johann Sebastian Bach this summer as artistic director, Christine Gevert, explores the genius of one of history’s greatest composers through a series of public masterclass workshops at Saint James Place in Great Barrington. More information at crescendomusic.org.

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