Meeting with NY Fashion Designer Bradley Scott

While in New York City for fashion week last month, I headed to 7th avenue, aka Fashion Avenue, as it sits in the city’s Garment District. Previously the textile-manufacturing Mecca of America, the Garment District is still considered a fashion capitol among designers and it is where I visited up-and-coming designer, Bradley Scott, in his showroom. Scott received this year’s Fashion Group International Rising Star Award for Ladies Clothing.

Stepping off the elevator and making our way to his showroom, my colleague Sheila, another writer and consultant for Stila cosmetics, remarked that the experience felt like an episode on Project Runway or another fashion reality show. “And this room, right here,” Sheila remarked, “that’s where Whitney Port was showing off her new collection on ‘The City.’” The open-spaces were very loft-like, with floor-to-ceiling glass windows and doors, stark white walls, and not much else separating each showroom. We passed designer Altuzarra and made our way through the doors of Bradley Scott, where a mannequin in a glossy yellow leather jacket greeted us upon entrance.

Once inside, Scott gave us a sneak peak at his Spring 2012 collection, which is great for Texas weather because the fabric used in the line is very light weight and the dresses aren’t heavy or overloaded with too many layers. “All of these solids are 100% silk,” Scott explained, picking a flowing yellow dress out from the bunch. “There’s no synthetic, there’s no wool, there’s no linen, so it won’t wrinkle. They are fun vibrant colors—I know the South loves color; [they come in] green, navy, saffron, and light saffron.”

Scott draws his inspiration from the famous Italian designer Gianni Versace. “He treated fabrics and took the technique of fabric manipulation and made it more special than what the fabric mills did,” Scott says. “Versace was given a beautiful fabric, chopped it up, embroidered it with leather, lace, buttons, and sequins and made it his own. I think that when you make your own design, your own way, from the raw material up until the production stage, it is fantastic.” Scott also does a lot of fabric manipulation, like his inspiration; he chops it up, embroiders the edges, ruffles things, and embroiders his own organza. “I take things unexpected, like lace over a saffron lining, and strips of hand-cut patent leather. So I do a lot of creative stuff with fabrics and use really different techniques that I don’t think are on the market.”

95% of Scott’s fabrics come from Biella, Italy, near Lake Como, where the oldest mills in Italy reside (circa 1812). The fabric-making process is “all done by hand,” as they start with a swatch and then change it around. “It’s really a very fun process,” Scott adds, “and the Carlisle Collection uses the same mills which is how I got in touch with them.” Starting in the fashion industry at age 19, Scott worked for the Carlisle Collection for eight years, eventually resigning to create his own line after graduating from the prestigious Parson’s School of Design in New York City.

When asked about the experience at Parsons he said, “Besides the no sleep and insane deadlines? That’s pretty much it. You went there to work and I did not have much of a social life. I was very focused, I knew what I wanted and I also had a fulltime job while I was there.”

Take a look at Scott’s designs in the slideshow above or check out his website.

Sagra dell’Uva (Grape Festival) in Marino

October is by far the best time to visit Rome. Temperatures are slightly cooler and grape season is in full swing. Wine is overflowing everywhere and bunches of fresh picked grapes are ready to be eaten. Especially in the medieval town of Marino where the “Sagra dell’Uva” attracted hundreds to drink up last year’s reserve to make room for this year’s vino novello. Since 1925, the town of Marino (south of Rome) has graciously shared with locals their abundant source of produce and wine by handing out over 150 tonnes of grapes and providing 3,000 litres of local white wine during their four-day festival. The highlight of the event is when they turn the water from the city’s main fountain into sparkling white wine giving visitors a taste of Marino’s famous wine.

The grape festival, which is one of the oldest in Italy, commemorates the return of Admiral Marcantonio Colonna to his home in Marino after his victory over the Turks at the Battle of Lepanto in October 1571. The sagra is celebrated during the month of October to give thanks for the safe return of more than 250 sailors sent to battle.

After all these years, Romans continue to show their appreciation for this victory and long-standing tradition by visiting Marino’s annual wine and grape festival.

Angelina Mata Atelier Premieres at New York Fashion Week

The entrance to Cult Studios is hidden behind plywood and a closed-off sidewalk when I arrive at the Flower District location near New York City’s Fashion Institute of Technology. Inside, Henry De La Paz, a hairdresser originally from the Rio Grande Valley, is preparing models with weaves, curls, and Princess Leia braids and ribbons for San Antonio designer Angelina Mata’s Spring/Summer 2012 ready-to-wear collection being unveiled at New York Fashion Week.

With 12 years on the ground in San Antonio, and time in L.A., London, and now New York City, De La Paz continues to work with Mata, traveling to San Antonio roughly every five weeks. “I’ve worked with her and her family for eight years,” he says proudly. The all-star cast of San Antonio artists coming together to support Mata’s new line also includes makeup artist Patrick Eichler, whose extensive career includes working with icons such as Alexander McQueen, Valentino and Zac Posen.

When I’m finally ushered into the studio, I find Mata’s Atelier vision showcased in a performance-art installation rather than the traditional runway show. While the approach is said to have been adopted by many fashion designers after 9/11 for budget constraints, it’s continued because of the way it allows an audience to study the designs more deeply. It’s a different but much more rewarding experience.

A dress made with silk organza and “enshrined underground for ten days” was arguably one of Angelina Mata Atelier’s most important pieces of the night, as Mata worked with fiber artist Laura Beehler who helped dye and weather the fabric to create what Mata’s marketing calls a unique “b(earth)ing.” The two buried the five yards of fabric wrapped around a rusty grate, embedded it with rose petals, and kept it wet, as if growing a plant. Once extracted from the ground, the silk organza was turned into a signature bespoke dress with the intention to look antiquated, and indeed it did, as the rust, rose petals, and leaves all left their mark.

Mata says that her silk organza gown, as well as the rest of her line, “translates into a concise ultramodern look with the haunt of ancient civilizations.” This may feel like a familiar trend, however by combining both modern and ancient elements — conforming the long silk organza gown to the body while also allowing it to flow off the body, for example, contributes to a blending of conservatism and progressivism.

However, this exquisite work was less accessible than Mata’s other ready-to-wear outfits, like the fitted, dark pink, off-the-shoulder chiffon dress; a cream A-line knee-length dress; or the stark-white fitted dresses outlined with green and pink. Mata’s tribute to color featured green, orange, and yellow dresses with unique patterns. One of my favorites was the purple skirt with copper belt, which appeared to have large copper medallions printed on it. Large, thick metal belts tied other dresses together as well, however as exciting as the dresses were, the talk of the night were the shoes.

Mata’s shoes were a collaborative effort; furniture artist Peter Zubiate and graphic artist Can2 assisted here, along with metal artist Jose Chapa, who also did all of the metal work for belts. Many of the models appeared to be perched on stilts as they stood on thick wooden platforms stuck to metal extensions — not your typical stiletto. The shoes created a futuristic fairy tale experience, and complemented the models’ vertically pinned thick braids. Some of the braids appeared to be spray painted, others were very pixie-fairy-esque, evoking the fresh appearance of the line. (With their hair down and undone, the models recalled the film Avatar.) In addition, jewelry designer Tracy Stephens helped execute Mata’s earrings.

Mata made it to New York Fashion Week with more than $8,000 in donations largely from the San Antonio community. A thank-you celebration for local friends and supporters is set for November 2 at Blue Star Contemporary Art Center, during which Mata will show the collection against the backdrop of departed SA artist Chuck Ramirez’ work.

New York City Fashion Week: Kaelen’s Comfortable Spring/Summer 2012 Collection

Toronto born, New York-based designer Kaelen Farncombe presented her Spring/Summer 2012 collection at Chelsea neighborhood’s Root Drive-In Studio. Upon arrival, myself and guests were given a baby pink program with black Rorschachs. But we didn’t know quite what to make of it once we finally previewed the collection, as we were ushered into a rectangular room where translucent pink sheets hung from the ceiling, along with tree branches. The leaves of the trees appeared to be on the models’ headbands, which was distracting from Kaelen’s new collection.

Perhaps the Rorschachs, pink sheets and leafless branches were meant to evoke a psychological, fairy tale dream, which coincided with the collection. Light-weight fabrics like chiffon, silk, and cotton in muted hues of pink, peach, and nude hung loosely from the models’ bodies. Some outfits were given a punch of color, like the cropped tee in orange silk noil, accompanied with a draped skirt in peach silk chiffon. However most of the looks included quiet button up rompers in nude crinkle cotton and a flowy draped pocket dress in cream crushed velvet, with a couple of louder looks like the pleated disco dress in white sheen ossido, and the blazer and slouch shirt in seafoam inkblot. The inkblot was incorporated into a few outfits as well.

While most of the collection was cohesive, the blazer and slouch pant in striped cotton, as well as a t-shirt looking-dress with a slit down the side called to mind pajamas. And then, once the image of pajamas struck my mind, I couldn’t help but think that, perhaps most of Kaelen’s collection could pass for pajamas: some looks were sexy, “my-boyfriend’s-coming-over” pajamas; some were casual and covered up, “I-haven’t-shaved" pajamas; and some were “whatever, I don’t give a shit” pajamas, that can be worn as clothes as well. With that said, I really did like the relaxed look of most of Kaelen’s pieces and think that the loose and flowy fit makes them comfortable to wear, while making the person look and stay cool.

The Perfect Dress for Gal about the Globe's Changing Seasons

It’s almost autumn and major fashion magazines have already published their fall favorites. Yet we've still been searching for the Perfect Dress to weather the 100 plus temperatures; an outfit that is both comfortable and cool to wear, but is also versatile with the changing seasons, looks good with a light scarf, or even an 80s jean jacket and Risky Business sunglasses. The Perfect Dress-in places like South Texas or anywhere else affected by global climate change-is like an employee in a bad economy; it needs to have transferable skills for the “changing” climate, be ready for work, the club, a birthday party, and specifically a drought.

I met with Valerie Perez, founder of Verseau, and someone who has designed just such a dress. Verseau, a high-end women’s line with an affordable price point, featured The Perfect Dress in their Spring/Summer 2011 collection, Un Amour Delicat.

While debuting at IADT’s annual runway show “Imagine” in May, I finally had the chance to catch up with Perez and couldn’t wait to ask some very titillating questions about her line, such as “Why did you choose chiffon?” Perez, whom has brought the highlights of her collection to our meeting, excitedly explains, “I like the way it feels and hangs on the body, and when you wear it you feel really pretty and feminine; at least I do. The ultimate goal is to make a woman feel like a woman.” While that’s easier said than done, it appears that Perez has managed to meet that goal. Many of her dresses flatter the figure of a real woman as they’re fitted around the waist, breast, torso, and flare out at the bottom to compliment a woman’s most valuable assets.

One of the Un Amour Delicat dresses (pictured in slideshow above) is a low-cut flirty number made of cream chiffon. Like the other dresses in the collection, it is textured, and includes braided straps around the shoulder. “Each piece was designed with the everyday woman in mind,” Perez says, “with careful attention to how the garment falls when she moves.” Other dresses in the collection have similar themes: a backless halter with translucent magenta chiffon and stenciled designs; a dark turquoise chiffon dress with two straps across the shoulders, featuring flowered embellishments on the right shoulder, “So you don’t crush it with the seat belt,” Perez claims; and a similar dark pink dress adorned with rows of gathered chiffon, and a wide ruffle around the hem.

“I only want to create garments that are wearable with real world applications. I didn’t make them fitted below the waist because they are for real women,” Perez explains, “I also tried to make them a wearable length so you’re not afraid to sit down or move in the wrong direction.”

The navy blue chiffon dress—one of my top picks—is simple, but features a large bow to compliment a plunging neckline, and is also finished with a wide ruffle around the hem. “It’s a really flirty dresses,” says Perez. Her dresses are certainly sexy, however, she also has more conservative numbers, like her longer black dress with white, blue, and gray splashes, ruffles around the neck and sleeves, with a modest neckline.

About the Designer: Valerie Perez’s runway shows include The Saint, Queens of Fashion-Model, Mia Robertz performed to Como La Flor by Selena; Threads for Hope Fashion Show, benefitting the San Antonio Aids Foundation; San Antonio Living Show—Celebrando Estilo, La Villita Assembly Hall (IADT); The Beauty of Giving Back Founder’s Day Event presented by Jack and Jill of America, Incorporated – Sonterra Country Club; Great Day SA – SA Youth Summit (IADT); Great Day SA – Imagine, benefiting Eva’s Heroes and Career Education Scholarship Fund (IADT); Fiesta Fierce Fashion Parade (with Cassandra Lazenby).

Rome Today: Heroic Nudity

Rome Today

I recently read an article by travel writer Rick Steves discussing how American travelers often find themselves in a state of shock when they visit Europe and are exposed to European nudity in public. I couldn’t help but laugh since I was one of those Americans when I first visited Italy in 2004. I felt uncomfortable with such uninhibited behavior. My husband, who is from Italy, reassured me that it was normal and acceptable to go topless at the beach. Unfortunately, his words did little to get me to bare it all. Instead, I couldn’t help but secretly stare and wonder why or how so many people could feel comfortable in their birthdays suits (or at least half of them) in public. As I observed, I witnessed every body type: from my own in-laws sporting a bikini and Speedo at the age of 70, to little girls running around with only bottoms on, to little boys in the nude, to grown men in fitted boxers, underwear or the tiniest of shorts, to cellulite-free bodies, well-tanned biceps, stretch marks, no-tan-line silhouettes and everything in between. Not to mention, there were pregnant women on the verge of delivery staying cool in two-piece suits with no hesitation or discomfort enjoying the sun. Their self-confidence reminded me of Demi Moore when she made headlines for posing nude on the cover of Vanity Fair when she was seven months pregnant.

As the summer passed, I tried to muster up the courage to do the same, but couldn’t. I didn’t feel comfortable enough showcasing my breasts in mid-air or for any other man to enjoy the sight publicly. So I proceeded with caution until I started to learn more about Italian culture. I spent countless afternoons at local museums trying to immerse myself in Italian art and culture, and I started noticing one common theme: Exposed bodies everywhere…featured in art, statues and paintings. This sparked my interest in learning more about ancient Greek and Roman art, when heroic nudity was openly accepted. It was a time when the athletic body or human body was admired, when gladiators were cheered on for their Olympic-sized bodies and strength, when curves were the norm instead of the exception. Full-figured women were glorified for their childbearing abilities and all networking occurred in open bathhouses, with a towel-wrapped around waists, instead of behind the keyboard on Facebook. I realized the focus back then was accepting one’s body regardless of size, shape or ability. Embracing one’s own sexuality was part of the human experience until shame and embarrassment was introduced by religion, with the famous “fig leaf” covering up Adam and Eve. Once I reached this conclusion, I decided I would allow the spirit of Venus and the statue David to live on and abandon my overly prudish behavior abroad and embrace my body for all its curves and imperfections.

Check out more of Araceli's photos featuring "Heroic Nudity,” or some of her other stories and productions, by logging on to Rome Today's facebook page.