Turkey, Lights And Pierre Cardin


I spent Christmas in Virginia with a few family friends. I told my friend who cooked the turkey that it looked like it was taken out of a movie set. Not only was it visually appealing and stimulated my tasting glands, but it actually tasted great. One of the best turkeys I ate in years (still nobody has beaten grandma's). The rice was prepared by my mother, it was a concoction including olives, always a feast. I was playing with the camera before dinner. In case you're curious I was wearing vintage Pierre Cardin blazer, H&M chambray shirt and plaid tie. It all sort of came at the last minute, that's just how I like to dress. I'm still pondering on the idea of what I'm going to wear for New Years, but I'm sure it's going to be vintage. 



Twitter is like crack to some, a coffee in the morning to others, and peer pressure to the rest (I guess). I love meeting new and exciting people, especially when their background is totally different from mine. Before this year is over, I just wanted to give a shoutout thing to those that have shown some love in the past. I know this is overdue, and I deserve a pat on my booty, but it's better late than never. I'm sure folks have some me love beyond these four mere tweets, but I just wanted to say I appreciate every email, tweet, and comment. I'm so ready for 2011. 


Take A Bite - Chad White

If you claim to be a "fashion person" and you never heard the name Chad White before, then you might need to reconsider your denomination. I'm talking about non-label-whorish-fashion-person here people. Anyways, I first spotted Chad at some Dolce & Gabbana show, I can't recall which season it was, but I when I saw this impossibly more beautiful specimen some kinky images started to formulate on my mind, which I can't share with you guys since this is a family-oriented blog, seriously. My eyes were not fixated on the clothes, but I couldn't ignore his cherub, baby face, and acknowledge the chiseled abs, which makes me wonder; Isn't that what every cougar wants? Is Chad White a cougar magnet? (If you're a cougar let me know, I'm just curious, I won't tell anybody). 

White has walked for some of the most influential designers int he world including: Dolce & Gabbana, Versace, and Ralph Lauren. His face has graced ad campaigns such as Hugo Boss, Rugby, Loewe, Gant; and has been featured in major glossies such as Love, Winq, GS Style Russia, L' Officiel Hommes and Vogue China Men. 

Backstage at the Fall/Winter 2008 Perry Ellis show during an interview with models.com, the Portland, Oregon native reveled his relentless dedication to his career, "I do work out a lot, when I have a shoot coming up, I go a little crazy, not crazy, but crazy (in a sense where) I just go a little extreme, because I'm so hard on myself." It's valid to add that a good chunk of male models are blessed with athletic, rapid-fat-burning-12-pack-abs genes, where a religious workout regime, like the rest of us, is not necessary. In the brief interview, he also mentions that he enjoys playing basketball, baseball, football and soccer, and reveals that his favorite baseball player is Alex Rodriguez (a.k.a A-Rod, a.k.a Madonna's ex fling). 

Back in February of 2008, he appeared on the cover "UK's best selling gay magazine" (according to them) Attitude, lensed by Mat Irwin and styled by Luke Day, in an editorial dubbed "The Gladiator". It's only befitting, he would grace "The Hot Issue" shirtless, with a couple of black belts wrapped around his waist, arm, and across his chest (I don't know about the armpits). I love the concept, styling, props, and overall composition of the pictures. There is taste here. I'm glad they didn't put him in a too small, much too revealing speedo, pour water in it (so his manhood delineates a protruding print) objectifying him as a sex toy. True, gay magazines tend to do that, but the best ones manage to produce pictures with though-provoking substance that you will not find in Playgirl. 

Chad's impressive portfolio exists beyond these eight mere images, I'm sure you can find some of his editorials all over the net. I wish I could post every single one I like, but that would be too chaotic and boring. Trust me, if you missed seeing his sexy Oregonian butt on the runway, don't worry, his agency just released a very casual picture, though he looks red-neck-ish, he might be back on the runway sooner than ever (hopefully next season). 

Now, don't you want to take a bite? I know I do. Sign me up!



I came across these images that brought nostalgic memories of two of the greatest, most dynamics minds in fashion. The Dutch duo, Viktor Horsting and Rolf Snoeren had, as usual, a subversively mind-blowing show last October, their non-traditonal take on men's shirts, and the countless possibilities it can take form was a manifestation of their frebrile minds and creative genius. I know the collection at times seemed hard to wear, but I'm sure the collection will be commercially tweaked, at the same time, I don't see Lady Gaga complaining. 

The first two images were part of Glamcult magazine, as a tribute to V&R. The shots were taken by photog Barrie Hullegie and features model Sophie Vlaming. When I peeped at the first photographed, I immediately made a connection to their Spring/Sumer 2010 collection, the chainsaw-like side cut of the tulle dress just gave it away. How could you miss it? The shot seemed to have taken place at one of their enchanted rooms in their magical castle, the main story for their website. The second double image reminded me of their hit Spring/Summer 2009 collection where they chose a more intimate format to showcase their offerings. They hired supermodel Shalom Harlow, dressed her in every look and shot a continuous runway video. The result, genius. The third photo, not part of the magazine, was found in the casualties of online browsing. The photo was taken by Gabriel Moginot, featuring model Jolanta. I love the irreverence of it, fuck you attitude. The mutilated fur coat, part of their Fall/Winter 2008 collection, singled-handely made PETA members chafe their teeth and ensued their altruistic anti-fu campaigns (shocking!). I thought this was one of their most controversial moments for sure, but I commend them for taking a stand on what they believe. I remember during backstage interviews, they were explaining that the word "NO", theme of the collection, was their stand on the rapidity fashion seems to become irrelevant. In less than six months, a dress is not deemed stylish, gets thrown in the "out" pile, and a new set of clothes get in the picture. If they wanted their customers to keep these clothes forever, or at least be pass down to their offsprings, these accouterments must elicit a flair of classicism that would remain relevant tomorrow, or ten years down the line. The last adjective I would use to describe their work is "classic", that doesn't make them great, but essentially, this was an exemplification on how fashion can be the ultimate non-verbal communication conductor. 

Their Spring/Summer 2009 show had a vibe of Willy Wonka in Mexico via the Philippines. That's a compliment.  


Jodie & Marc

The minute the last model exited the very non-traditonal Marc Jacobs runway last September, I couldn't help but acknowledge the strikingly similarity with actress Jodie Foster, or should I say, Iris Steensma in 1976's Taxi Driver (I was nowhere near conception by that time, that should give you an idea of my age). Some of the editors that attended the show (I saw it live) credited Foster for the source of inspiration for the collection. To my best of my knowledge, Marc never mentioned her as such, but I'm sure there was at least a tiny picture of Foster pinned among many others in the inspiration board. Besides the libidinous 70's Saint Laurent references and the vague Missoni kaleidoscopic patterns, there is no denying the Foster sensibility was palpable in a satin hotpant suit, diaphanous chiffon halter dresses and off-the-shoulder peasant blouses. Marc managed to subconsciously capture the innocence of Foster without looking passe or naive. 

When his 2011 Spring/Summer ad shot by Juergen Teller featuring models Caroline Brasch Nielsen (above) and Masha Kirsanova surfaced the web and now appearing in glossies, only purports the resemblance of the two. The big Coddintong-esque frizzy hair and straw hats, and granny upside down glasses add to my belief. 

Ken Downing said it best, "saffron, curry, with mahogany spice shades are absolutely just yummy".


CK Boys

This polaroid compilation by Jeremy Kost features some of the faces of the moment captured in their most organic nature. Mr. Italo Zucchelli, the creative mind behind Calvin Klein men, provides the clothes, or the lack there off. I'm obsessed with the neon pink suit and the acid yellow tee, appropriate pieces for the moment. Check out my soon boyfriends David Agbodji and Nate Gills, if you're not familiar with their names, then I suggest you look them up, google comes in handy once in a while. Anyways, this is another reason why I adore i-D magazine. 


I'm Not Dead. I'm Still Swinging.

As I get older, and transcend into a new year, I ponder upon the unique experiences that have occurred, while somehow I managed to get a grip on them, since I feel they occurred too quickly. Among them; moving to D.C., attending a numerous amounts of shows (whenever I say show, I'm talking about fashion shows, ok!), getting my phone stolen and breaking my ankle the same night (matter that would be addressed on a different post), styling gigs (I recently assisted my friend Walter on a shoot for Washington Life Magazine with dancers from the Washington Ballet. I haven't seen the pictures on print yet, though the issue should be on newsstands now, show me some love), and meeting one of my fashion heroes Robin Givhan (I have a picture of the extremely aberrant, surreal-like, unforeseen rendezvous-esque, but I would upload it as soon as I can get my phone to work, but seriously I feel like I have to blow up the picture, frame it and put it up somewhere). 

I been also given the opportunity to write for theurbantwist.com to share my thoughts on the whole "urban" culture. One of my favorite articles was my humble critique on the 2010 American Music Awards red carpet. I praised a few, but I had to cut others. I strongly feel when you're a "relevant" celebrity in the limelight, there is not an excuse to look half-ass. It would be biased if I didn't acknowledge the stylist, but again, many artist don't credit their stylist(s), unless they're asked, or given a shout-out. Willow Smith's stylist had to be penned down anonymously for plagiarism, you will learn about it (if you don't already) once you read the article. 

I been jamming to few songs lately. They may not be your favorite artist, or your preferred genre, but I'm developing a penchant for them. The Jazmine Sullivan's 10 seconds is the perfect feminist anthem, perhaps it's her way of telling a past fling the brief time he lasted in bed, but the message is still ambiguous if you ask me. And I love Lady Gaga's remix, it's the perfect background melody for a night full of lust. 


A Cantoire Experience

On December 4th, 2010, I heded down to TheArc Theater in Southeast Washington D.C. for a special show designer Carlos Reaves invited me about a month ago. For some reason, the date of the show just seemed forgotten in the back of my mind, but he reminded me a few days prior to the show via facebook, and also reserved two front-row seats for me and my photographer Matt Statler. Though I strongly dislike that less-celebrated, run-down section of D.C., I only intended to make this trip for the sake of fashion. The first time I met Carlos, I was still in high school, oblivious of the majority of what fashion entailed, but I still knew what I had in front of me was pure talent. I vividly remember the day when Carlos showed up with two pieces in garment bags, I gravitated for a leather frock, I examined the garment and extended my sincere adulations. That was the only time I saw any glimpse of his work. Thus this was an apropos opportunity for me to finally witness the aesthetic behind his work. 

A few days prior to the show, Carlos's Facebook status updates consisted of him painstakingly sewing until wee hours of the morning, "It's going on 7 a.m., and I haven't been to bed yet. Preparing the final garments for my show on Saturday", or promoting the event, "Preparing a Christmas collection like you've never seen!!! Don't miss "Winter Praise Fest" concert", with details posted below.

As I walk into the capacious auditorium, I was greeted by a quadruplet of gospel singers serenading the audience. Their voices were powerful with a pinch of serenity. Then, a statuesque man, who appeared to be in his late 40s, wearing the most hideous pleated pants (pleated pants, among other things, are an abomination to society) walks into the stage, gets to the microphone and says a few words, and between his sermon he shouts, "praise the Lord!", and I'm left baffled. Then a few other performers came out and I noticed a pattern. This was a church event. I later whispered to Matt, "I should've read the flyer more throughly", he just looks back at me and chuckles. I was certainly not ready for a Sunday's Best episode, but I just went with the flow. At one point, I thought someone was going sprint to the stage and "perform" all these acrobatic moves, drop to the floor and wither as if the Lord had touched his spirit, but thankfully none of that occurred. One of the performers, Michael Hunt, stepped on the stage and sang his heart out, he later brought out his wife and background singers, all clad in black, who performed a few canticles just so beautifully that it truly touched my heart. It's also valid to mention, singer Lashawna Moore (see below), wearing a off-shoulder rusty golden silk dress with a wing sleeve by Carlos, who closed out the show with a ballad that gained her a well deserved standing ovation. 

Carlos Reaves presented a cohesive collection consisting on twenty looks that echoed the Christmas spirit, yet it was decisively artistic and impeccably constructed. Reaves seemed to have submerged into a pool of references for this special collection. It was obvious the Dior influence found on the movement of a zebra printed full skirt, and a soft wool nipped jacket. The sort of thing a bourgeois woman would wear on the south in the 50's. He even told me after the show that he drew inspiration from Alexander McQueen's fall/winter 2009 collection. That was evident in the  form the models walked; coming out from one end of the theater, making a rectangular shape, posing at each corner, and exiting very nonchalantly. The volumes and shapes he used were also reminiscent from McQueen's highly lauded collection. The origami-like shapes were certainly challenging to wear but somehow  they elicited an appealing silhouette. An off-shoulder grey jersey dress, a gorgeous sleeves purple shift, and a simple open neck dress with soft tiered layers were the stand outs. 

The first clutch of models came out with disheveled puffed wigs with a branch going right through it, giving an illusion of deer's horns. The rest of them were wearing what I initially thought were lampshades (as McQueen's collection), but Carlos later told me they were actually hats draped or stitched. The head pieces, which came in oval or spherical shapes, certainly bolstered the element of surrealism to the collection. I was also enthralled by the make up, which was done in glitzy, sparkling shades of silver and green on the eyes and lips. 

There were few evening options that demonstrated Carlo's deftly ability to play with proportions, but it felt as thought they were overly design. One of them was a strapless gown with a bodice in ivory silk and a skirt in red, with frills on the top, a rosette perched on the chest and a few tiered straps draped on the hips. As dramatic as it may have seen, the overall result was a conflicting juxtaposition of elements that potentially could have worked independently. 

The closing act, a white corseted gown with an olive, drab green skirt over a gigantic crinoline and something that can only be described as multiple orbital like straps stemming from the front and ending on the back was imbued by "the angel in top of the Christmas tree", Carlos told me after the show. As he was talking, the inspiration made sense. I was trying to picture the gown in an actual Christmas tree, a miniature version, that would sure grab the attention of any onlooker. I liked the grandiose attitude of the gown, and the movement while it walked across the stage.

I left the scene a few minutes early in order to avoid the seemingly church-goers, and headed backstage to talk to Carlos about the collection. I caught him on my way to the second floor, dispatching one of his models. He was wearing one of his creations that Raf Simmons would have envied. He seemed composed and graciously greeted me. As I was inquiring about the collection, I immediately noticed the sense of mission and dedication behind his work. He was so knowledgeable about his craft and answered my questions throughly, which is the only thing I can ask for any designer. During the show, I heard a bruit that Carlos was leaving for Atlanta, I initially thought he was leaving for a show, but I later find out he might leave all together. I couldn't ensconce a slight sense of forlornness, but at one point we all have to move on. If this change of location occurs, I can only wish Carlos much success in his future endeavors. 

Pictures by Matt Statler, check out a clip of the collection here