When People Lead, a play

Here's another piece from Chris over at Stage Directions. We always enjoy reading his heady, thoughtful musings on theatre and the like. In this one, Chris goes to check out a play at Art Six and winds up ruminating on the importance of truth in art, connecting the play to the recent This American Life episode, "Retraction." Read through and let us know what you think. 

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Alan Bounville in WHEN PEOPLE LEAD

On Sunday night, I went up to Art 6 in Denton to work on the musical I am writing with a couple of the owners of the shop. I didn’t expect to run into a production happening in the back room but when I arrived, there was something being set up in the back room. Beginning Spring Break is always a challenge, I almost always end up wasting the time and not completing the stack of tasks that I have set for myself. One of the tasks was to have a new blog post and the week wasn’t looking like it was going to bring anything my way. Then, a couple of things happened; Mike Daisey, the revered monologuist cum activist was deposed from his throne by his own hand and I found myself as the member of a small audience sitting in on WHEN PEOPLE LEAD. Alan Bounville wrote the play from a collection of interviews and claimed “verbatim” theatre in that respect. He is involved in a movement called Into The Light which supports people sharing their stories regarding the LGBTQ movement and Bounville is walking across the country sharing his story and trying to build awareness for the struggle for equal rights. Pushing a large cart with a rainbow flag, he began his walk in Seattle and came through Denton on Sunday with little promotion around his production. The play itself is a loose narrative that shares interviews and his own experience as “local color.” Bounville is first an activist and his acting showed commitment if little depth. There were a couple of the monologues, mostly from older men who participated in actions years ago that were quite moving; the story of one man caring for his dying partner and trying to find an apartment was the highlight of the evening for me. I can’t characterize the piece as anything but agitprop, there was a moment when video from a die-in in Grand Central played behind Bounville shouting “Civil Rights Now!!” repeatedly that perfectly captured the essence of the piece. Within the stories, the undercurrent of activism was never far below the surface. While I understand, and fully support, the quest for rights that many LGBTQ people struggle for daily, as a straight audience member, I felt out of place. Many of the issues that Bounville talked about and showed in performance were so specifically tailored to a queer audience that I felt like an oppressor sitting in the audience. I had planned to talk to him after the show but many of the audience (7 in all) were talking to him about their own experiences and I didn’t feel that my “talk to me about your process” had a place in the discussion. Bounville wore his activist flag on his sleeve and bragged about his own hunger strikes and familial problems within the wider context of the struggle. The art was sublimated to his own experience.

“Why is this a problem?” you might ask. 

It isn’t, for Bounville. Would be my answer. For Bounville. 

Now to the larger issue. I have been listening to This American Life since at least 1997 and have missed very few episodes. Running, cycling or working around the house, TAL has been the soundtrack of a good portion of my life. I also listen to Studio 360 and the episode about Nikola Tesla was the first time that I hear of Mike Daisey. The story that he told in that episode was compelling and laced with historical details. History aside, I never thought about the veracity of his points; history is falsifiable not subjective (arguably) and so the stories he told were not something I spent a lot of time thinking about. Then, sometime last week, I heard about the retraction episode. Newspapers, magazines and websites are where I have encountered retractions, TAL didn’t seem like the kind of place where a retraction makes sense. Then I did some research into the story. If you haven’t followed the story here it is, in brief. 

Mike Daisey, one day, decided to look deeply into where his favorite devices come from when he saw some pictures on a website that were found on an iPhone that had been taken in the factory where they were made. He booked a trip to China and spent some time in and around the Foxconn plant where many Apple devices are built. He painted a bleak picture of overwork, underage workers, unsafe working conditions, repetitive motion injuries, illegal unions and a police state-style surveillance system set up in the factor. Foxconn, you may remember, was where there were a number of suicides by workers in the recent past. Daisey and his interpreter, Cathy Lee, went all around Shenzhen talking to “hundreds” of workers to corroborate the story that Daisey was sure was there. He created a monologue called “The Agony and Ecstasy of Steve Jobs” which had an amazing impact for a solo performer. Daisey put himself front and center (as in all of his shows) and was suddenly the poster child for Apple abuse, not nearly as salacious as it sounds. He even had part of his show broadcast on TAL in January and it seemed like things couldn’t get better for him. Then the debunking began. Between January and last week, reporters from all over the NPR universe found problems with Daisey’s account, billed at the Public Theatre as “non-fiction”. It was fiction. Lots of it. Moments that killed on stage were completely fabricated and Daisey was called to the carpet by Ira Glass on the Retraction Episode in a public and painful way. I don’t need to talk about the history of fabricated stories, if you have been paying attention they are all over the place. I’m not interested in jumping on the Daisey bashing bandwagon, what I am interested in is posing a question. Daisey said that his work in the theatre, fabricated or not, was effective and he stood by what he called the strongest work he had ever done. Lying, in the theatre, wasn’t an issue because the theatre is concerned with creating real, human moments. The emotional narrative that Daisey continues to tell, though in slightly altered form, is acceptable and good because he understood that his experiences in China did not add up to what he thinks of as a powerful show. 

Reduced: As long as you create a strong, satisfying emotional narrative, regardless of whether you bill it as non-fiction or fiction, you have succeeded. What does this say for other performers who present something close to truth? With this story in my head, Bounville’s performance caused questions of the “verbatim” quality of his work. Was it really verbatim? Did it matter? 

I talked last night with Brad McEntire about what he thought, as a solo performer, about the issue. Hopefully in the next installment we will have some of his thoughts about it. I think what came from the discussion last night that really stuck with me is that Daisey has become more of an activist and less of a playwright of late. His work has taken on a victim mentality, a holier than thou mentality that can clearly be understood by looking at some of his more recent work. I watched a video on Slate.com that showed an audience member leaving (along with a large group) and pouring water on Daisey’s papers. His response, indignation, is telling. He called on the audience member to explain himself and when he didn’t, he read into the man’s motivations for injuring him in such a personal way. Interesting to hear him on the other side of the table. 

Listening to the retraction, one of the most powerful and painful moments was when Daisey came back into the studio after recording some other moments of the show and tried to point out that some of the experiences he had were real. Glass pointedly said “I don’t believe you, I can’t believe you.” Now, I don’t believe in the willing suspension of disbelief. I believe in something called “the blend” which I will not go into here. Belief in a performer and story are intertwined in my mind. If the performer doesn’t believe it, I don’t believe it. If I am supposed to be listening to something that is purported to be true and it isn’t, I don’t believe it. It doesn’t change the truth of the issue (global labor struggle) but it does affect my view of the performer/writer as a reliable narrator. If one is unreliable, doubt is cast. 

So that is the question. Does it matter? I’m conflicted about it. Surely when one agrees to be held to the highest journalistic standard, as Daisey did in having his work presented on TAL, it does matter. In the theatre, I don’t know that it does. I always go in to a performance with the expectation of at least someartistic license. In an academic lecture or news conference, not so much. 

More reviews and interviews of this caliber can be found at his blog.

Avenue Q - Music Theatre of Denton

Below is an in-depth review of Avenue Q originally written by Christopher David Taylor of Stage Directions that he was kind enough to share with us. More reviews and interviews of this caliber can be found at his blog. We'll hopefully see more from him soon. 

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When I was a kid growing up in South-Central Montana, just a stone’s throw from Colorado and the creators of “South Park”, I dreamt of a world where the profane, perverse baby voice that I practiced in the parking lot of the local IGA would someday find a voice. Then, as now, the idea of a child or childlike object spouting the darker aspects of humanity was at once funny and disturbing to passersby. I got some very strange looks from the old ladies walking in to do their shopping as my little baby voice spouted out things that would make my physics teacher, who had just spent a summer on board a NOAA vessel, blush. As things progressed and I became more and more interested in the theatre as an art form, I noticed that certain things were becoming acceptable; things that were unthinkable in the isolated upper midwest were finding a foothold in far off New York City. 

“Avenue Q,” first produced in 2003, captured the spirit of a depressed and newly vulnerable nation. Puppets were racist, misogynist, serial masturbators who had degrees and fully realized sex lives. The foil for humanity, the puppet, was a safe avenue for the expression of the darker feelings that had lain under the surface and were boiling up, finally, in the face of a growing war on terror and the erosion of civil liberties under the Bush administration. This all may seem to be high-flown rhetoric, but “Avenue Q” found an audience in NYC that craved an outlet. If puppets are calling each other racist and saying it is ok, if the childhood dreams of Sesame Street and people coexisting with Muppets could be a reality, wouldn’t it be more fun if they were more like us? 
Music Theatre of Denton secured the Regional Premier for Amateur Production rights, Theatre Three is producing the musical in the coming months, and MTD found their audience opening night with an almost packed house. This production doesn’t suffer on the technical side. The set and lighting both serve their parts in this production and it is easy to imagine the apartments on any street peopled by both puppets and humans. Puppets, rented, are present and as raunchy as expected; some of the puppets even seem to be channeling their professional lineage by sounding as close to the Broadway production as possible. Trekkie, voiced by Ted Minette, is perhaps most guilty of cribbing from the cast recording. Perverted and lively, hearing what amounts to character theft come from the mouth of a puppet may be a sort of homage to the original production, in this case it comes across as what the majority of the performers in this production do: present a reasonable facsimile of what many in the audience had already seen in NYC. 

For some audience members, this isn’t a problem. For me, the shining performances came from actors that created their own versions of the characters. Kate Monster, voiced sweetly by Nikki Cloer, is perhaps the most genuine of the puppet characters. Cloer’s puppet voice was spot on, her face, while not distracting from her big, pink persona, was interesting to watch as the emotions of the character were played out. Not so with her love interest Princeton. Voiced by Matt Purvis, Princeton was flat and emotionless. The highs and lows of the character were seemingly vacant from Purvis’ face and it was difficult to focus on the story when the performer so clearly wasn’t present. As disappointing as this was, the lack of character was more than made up for in two of the human characters. Olivia Emile, playing the equivalent of an Asian Jim Crow, was fantastic. Her portrayal of Christmas Eve, the harpy wife of the average Brian (played by Eric Ryan), Emile played with the careful balance between forcing a stereotype and finding something in her character that was redeemable. Numbers like “The More You Ruv Someone” and “It Sucks To Be Me” were well served by Emile’s powerful voice. She was joined in this regard by Erica Cole (Gary Coleman) and Kelsey Macke (Lucy The Slut). All three of these performers raised the level of the show from mediocre to good, anytime one of them was onstage, the energy of the production jumped to a new level. Cole’s “You Can Be as Loud as the Hell You Want (When You're Makin' Love)" channeled the recently passed Etta James and Whitney Houston both. As Gary Coleman, Cole was clearly enjoying herself and she was perhaps the most comedic of the human characters. Macke positively exuded sexuality, as much as a puppet can, and made her number one of the highlights of the first act. 

One of the other standout puppet performances came from Chris Jordan as Rod, the sexually repressed, closeted gay puppet. Jordan clearly loved performing and it made his character one that I kept hoping would come back on stage. Following closely behind, the Bad Idea Bears bear mention. Travis Turek and Anna Marie Boyd were hilarious as the...bad angels that Princeton has on his shoulders.  

Jordan’s love for the opportunity to portray a character in “Avenue Q” is one of the elements that makes community theatre so appealing when it comes to avocational actors. Rather than looking at the performance as a step to something much bigger, each of these actors had the opportunity to step outside of their daily grind and transport themselves and the audience to a place where a puppet can say “Fuck you!!” and the things that a large majority of the audience would never utter are heard in full volume from the stage. 
Director, Bill Kirkley, did an admirable job with his cast, moments were just long enough and the flow of the production never slowed. Perhaps one moment that should be mentioned, passing hats during “The Money Song” completely pulled the audience out of the production. Lights were brought up and while the actors were singing and dancing (if choreographer Stephanie Felton’s work could be called dancing), the audience was digging in purses and wallets to fill the hats coming around.

Overall, this production will not disappoint the avid fan of “Avenue Q” (I saw at least two T-shirts from the London production walking around), neither will it disappoint a complete nube (in which category I will admit to being). The strength of the show comes in the script and in the shining moments that are brought to you by the letters S-c-h-a-d-e-n-f-r-e-u-d-e. Taking comfort in the suffering of others, be they puppets or your-fellow- man adequately states the purpose of this musical. You won’t suffer if you see this production, you may just not come away with all the comfort the writers would like.  

“Avenue Q” continues it’s run through 11 March. Tickets are going fast, reserve yours at here

Joe Paul Gallo of the Gallo Family Farm

A while back, we got the chance to go on a tour of the Gallo Family Farm. Joe Paul Gallo walked us around and showed us his method of bug prevention and talked with us a little about the Denton Community Market. Watch below: 

You can read more from our farm series here and here. The Denton Community Market is open every Saturday from May - October, so you've only got a few Saturdays left to get down there and support all of the different local vendors. 

Gallo Farm Twitter

Nevada Hill

Artist Nevada Hill creates vibrant prints that are raw and full of energy.  The artist/designer has been making prints and designs in the Dallas/Fort Worth area for seven years and has designed merchandise for  companies such as Cartoon Network/Adult swim, as well as posters for local bands.  

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Hill recently had his second show at MeMe gallery.  "This show had a lot more art prints in it and less posters," Hill said. "The pieces are definitely larger but still retain the raw quality I strive for in all my work."

"A lot of my inspiration has to do with music and noise that I'm working on.  I try to make work that has a comic approach," Hill said.

In addition, the artist sites his young daughter's drawings and doodles as an inspiration.

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Hills work has also been influenced  by his travels to Portugal ,as well as past work with the  now defunct Denton gallery and magazine Art Prostitute.

"I learned a lot working at Art Prostitute," Hill said."They taught me how to survive as an artist, how to get jobs, and be a jack-of-all-trades."

"The experiences in Portugal were amazing.  I got to be a part of a local art collective there, Tremazul, and got to participate in music and art shows," Hill said., "It really allowed me to continue expanding my horizons."

The artist hasn't slowed down since.  Hill is continually  occupied with new and exciting projects.  "I'm currently doing a redesign for Good Records and designing posters for up and coming bands."

"Im just looking forward to the future and making new work."

Check out artist Nevada Hill at www.nevadahill.com

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Daniel Shea (Denton's Sign Guy)

You're most likely already familiar with Daniel Shea even if the name doesn't quite ring a bell. He's the man behind the political signs that appear over that one fence on the East side of Carroll just south of University. We recently had the opportunity to sit down with Mr. Shea and ask him a few questions. This is what he had to say:

Mike Seman

Photo: Danny Fulgencio, 2010

     Mike Seman is a man of many talents. In addition, to slowly rocking in Shiny Around the Edges, he also is a research associate at UNT’s Center for Economic Development and Research, a Ph.D. student student studying urban planning and public policy at the University of Texas at Arlington, the daytime programming coordinator for 35 Conferette and a frequent Kroger shopper. Oft overlooked, the daytime panels at the annual festival provide both a good time for people who enjoy angsty-arguments and informative discussions. In the run up to the beginning of the festival,  the ever-busy Seman hustled and bustled his way through a few of our long-winded questions.

We Denton Do It:How much say-so did you have in creating the actual discussion topics for each individual panel?

Mike Seman: Last year, I developed a majority of the topics and chose the panelists; this year I wanted to engage the people that had come to me throughout the year with great ideas. Each moderator developed a topic and selected his or her panelists. I was consulted on the subject matter and asked for insight on occasion. It was an experiment for all of us and I am pleased to say that the results are way beyond what I was anticipating.

Do you have specific people in the community whom you would want to attend specific panels? For example, Land Mammalshas a song that suspiciously sounds a lot like another local band’s song. Should they plan on attending Music Business Legal Check Listwith Tamara Bennett?

MS: If you are a musician, you should visit “DFW is the New Black!” as discussing the future of the DFW art scene may yield perspective for what you can do in your local music scene. Those in the music legal arena may want to visit the “What is the soul of the city?” Drink and Think event to meet City representatives and musicians and learn how they can integrate their skills into a city with a music scene that has a strong civic focus.

Each year the daytime panels at the festival have been more well-attended. However, this is the first year that there is not keynote speaker for the festival.Was that decision on purpose or did you guys just forget?

MS: A keynote speaker was not to be this year. We are very focused on developing 35 Conferette in a way that reflects the dynamic eclecticism of the Denton music scene and the cultural vibrancy of the city, while also incorporating the best that DFW and points beyond have to offer. We had several keynote speakers in mind that would have meshed well with our ethos. Unfortunately, none of them could not commit due to scheduling conflicts.

Your better half, Jenny Seman (also of Shiny Around the Edges), is sitting in on a panel this year. Her panel, Kool Thing: Women and Power inRock and Roll, is about women in the music industry. Denton has often been described as a “boy’s club” in terms of female participation. Do you believe that to be a misnomer, or do you actually have to be able to grow facial hair in order to rock here?

MS: “Kool Thing: Women and Power in Rock and Roll” was actually co-developed by Katey and Jen. In my experience, the Denton music scene is pretty open to anything. There are (have been) some great bands that include female perspective, Record Hop, Cuckoo Birds, Peopleodian, Vulgar Fashion, Sarah Jaffe, Christian Teenage Runaways, Fight Bite to name a few. Heck, the Rival Gang set at the Bake Sale benefit Shiny threw a while back rocked almost into a riot. Ask that question at the panel session.

Is there anything you wanted to squeeze into the topics for this year’s panels that you weren’t able to? If so, what was it?

MS: I really, really wanted to present Big Freedia’s lecture/dance workshop concerning the history of bounce music and its place in New Orleans’ cultural framework. I also wanted to present a panel session discussing music’s use in the treatment of autism. Sadly, I just couldn’t make either happen in the time-frame presented.

Looking through the topics and panelists invited to speak this year, the range of topics seem to have drifted towards DFW/Dallas in their scope as opposed to just Denton. Is this because you feel that DFW has embraced 35 Conferette and are changing the topics based on your audience, or because it is virtually impossible to talk about Denton for an hour without saying “Dallas” at least a fewtimes?

MS: It’s a reflection of the growth of the Conferette. Although the Conferette’s core reason for being is to celebrate Denton and its music, it is in no way to be at the exclusion of everything else. We are lucky to live in a rapidly growing region with a large population, many of who are adamant about art and music - as both creators and aficionados. 35 Conferette is a way to get these people together in Denton to experience what it has to offer and hopefully encourage friendships, dialogues and a broader cultural flow circulating through Dallas, Ft. Worth, Denton and all points in between.

Which is the panel discussion not to miss this year?

MS: I honestly can’t say one is better than any other; they are all strong. It should be noted though, this might be the only time one could start a sentence with, “So, last night at happy hour, I was having a drink with a coffee roaster, a cultural economist, Midlake’s guitarist, Tre Orsi’s bicycle activist bassist, a historic landmark commissioner, a planning and zoning commissioner and the Mayor of Denton.”

35 Conferette’s daytime programming begins with the first official event this Thursday, March 10th, at 3pm at Banter. More information on the panels (including a detailed list of all topics and panel members) can be found here.

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Eli's Monday Minute

Today marks the beginning of a special collaboration between We Denton Do It and Eli Gemini. Eli’s Monday Minute is our weekly check in with Eliborio “Eli Gemini” Beltrán, local political hopeful and Youtube.com news reporter, on topics both local and national for a total of 60 seconds. If you should have a possible topic you would like to have Eli comment on, please send an Email to will@wedentondoit.com. In addition, please send links to any less than sixty second video retorts you may have to Eli’s opinions. We just may post them.

ELI'S MONDAY MINUTE Ep. 1 from WeDentonDoIt on Vimeo.

DISCLAIMER:

We Denton Do It does not necessarily endorse or agree with opinions or facts that may be shared during Eli’s Monday Minute. All judgements/feelings expressed during EMM are solely those of Eli Gemini. Should you disagree with Gemini, please send a 60 second video retort of your opinion to will@wedentondoit.com.

Joshua Butler of Thin Line Film Fest

If you type, “thin line” into a Google search bar, the first suggestion is “A Thin Line Between Love and Hate,” a 1996 film staring, written, directed and starring Martin Lawrence, but Texas Filmmaker Joshua Butler is doing what he can to help Denton overtake that spot from the drug-plagued comedian.

Adding to Denton’s ongoing list of spring festivals, The Thin Line Film Festival is a documentary-heavy film festival now in it’s fourth year.

Butler, founder of Texas Filmmakers and director of The Thin Line Film Festival, took some time out of his quickly ramping schedule to talk to us about what’s playing at his festival this year, what the term “documentary” means, why hosting at the Campus Theatre is bittersweet and what he’s doing to “foster an active film community” in Denton.

Read on.

What’s the deal with the name of the festival?

Joshua Butler: The first name was going to be the “All Real Film Festival,” but that is just the thing, are documentaries “all real?” Are we as audiences supposed to assume that everything we are told or shown in a documentary is real? The truth is there is a ‘thin line’ between what is real and what isn’t in documentary films. It is still a crafted piece of art. It requires an individual to make thousands of decisions such as what to show, who to interview, where to cut, in what order to place scenes, where to place music, etc. Filmmakers are storytellers and documentaries are no different.

What film are you most excited about showing this year? Why?

JB: It’s hard not to say ‘Troubadours’. I mean any film that world premieres at Sundance is a big film to have in Texas before anyone else. It’s a music doc and we really wanted to feature music in this year’s festival. Both the Director (Morgan Neville) and Producer (Eddie Schmidt) will be in attendance. Then there’s a party after featuring local musician Glen Farris... so its hard not to like.

What world premieres is the festival hosting this year?

JB: This year we have only one. It is a short film called “You Cannot Learn How To Be Honest.” The filmmaker is flying in from California to participate. This is a crazy film that will affect you.

Why use Denton as the location of the Thin Line Film Fest? Has the town’s reception of Thin Line been as you had imagined?

JB: I had developed three-year old relationships by the first Thin Line and many of the “power brokers” (both political and social) want to see you pay your dues. So its hard to just pick up and start that somewhere else. Plus, Denton didn’t have a film festival. This goes back to why I started Texas Filmmakers. I came to Denton expecting an active film community. Texas Filmmakers and Thin Line are my effort to help foster that in Denton.

My expectations were naive at the beginning. I had that “build it they will come” mentality. Its actually more like, “build it, and if they know about it they may come.” Advertising is really expensive. Each year we have been able to slowly increase our ad budget. This year we were granted Hotel Occupancy Tax Funds from the City of Denton to help us advertise to the DFW region. The reality is that each year our attendance has grown by 200-250% and we expect another strong increase this year.

Why does Thin Line show primarily documentaries?

JB: There are 40 film festivals in the State of Texas. 39 of them are for fictional films. Sure most of them also screen documentaries; but we are the only documentary film festival in Texas. Plus, Denton had already developed a reputation for documentaries. The UNT film department offers one MFA program - documentary film production. Its also run by a reputable documentary filmmaker, Melinda Levin.

What movie from last year went on to have the most success, win the most awards, etc...?

JB: This is an easy one... Gas Land. It is currently nominated for an Academy Award for Best Documentary. We had the Texas Premiere.

The campus theatre is primarily used for live theatre. Do you think the space would be better used as a movie theatre?

JB: I must claim I am biased in this regard. The Campus Theatre was a Grand Movie House that hosted big films such as the World Premiere of Bonnie and Clyde in 1967. A part of me does wish it had been renovated in the original design. Instead it was converted to a live theatre. The balcony was walled in and is now the prop storage. The local community theater groups do a great job and they deserve a space to perform.

The 2011 Thin Line Film Festival runs February 15th - 20th at Denton’s Campus Theatre. Tickets are available online at ThinLineFilmFestival.com or at the Campus Theatre box office starting Tuesday, Feb. 15th at 4pm.

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Rachel Nichelson of Madeline Wood

Photographs by Stanton Stevens

This is a short interview with my good friend and local fashion designer

Rachel Nichelson. I asked her a few questions while I was ironing and I

hope I'm not miss-quoting her. Side note, I also do all my sewing at her

studio.

--Christiana Shoto

Christina

Shoto: So Rachel, tell me a little about your line, your life, fashion,

trends, the future; oh, and some life advice... cool?

Rachel Nichelson: Sure!. Started my line in 2005, a year after graduating from

the University of North Texas with a BFA in Fashion Design.  Over the

years my little line has grown and developed.  I love designing new

collections and always aim to create better designs and fresh looks.  I

am in love right now with my Spring/Summer 2011 collection.

CS: Trends you are into right now?

RN: Tights worn with Shorts. Simple, but love it! Also I really like Sperry Topsiders and would love to have a vintage pair.

CS: What can’t you live without?  

RN: Cardigans and really good fitting jeans. Which is basically my uniform.

CS: What do you take from vintage?

RN:

Details and elements of a piece vs a literal copy of a garment, for

example I love the 20s and like to use the pleating details and dropped

waist lines in my designs, but I give them a modern fresh touch with

fabric and the way the garment

fit

.

CS: Your line is produced in the US. Why?

RN:

There is something to be said about knowing who is making your clothes

and the conditions they are working in...peace of mind you know?  My

process is simple.  I make all my patterns, samples, source all my

fabrics and trims, made my website, represent myself to buyers. You get

the Idea?  I use a pattern maker for my grading(sizing of garments) and I

contract to a local cutter and garment makers for large orders.

CS: Notable quote?

RN: cool people inspire me... :) my friends.  

Some of Nichelson's other inspirations:

I have been looking a lot at N.E.E.T. magazine lately. And its blog.

I also love to look at Design Sponge.  I love everything, especially the recipe page... love the photos of food!

Like to read Readymade

Love this blog, for crafts to do with my little kidlin's: Growing Up Creative

My line, Madeline Wood.

I am always searching for fashion/life style/creative blogs, or websites

and discovering new places of inspiration.  Movies too!  Is this too

much?  I could just go on and on...

"Just because someone doesn't like it doesn't mean that someone else wont love it!" - Rachel Nichelson

Styled by Christina Shoto and Rachel Nichelson

MakeUp by Cierra Geer

Hair by Christina Shoto

Models: Kirby Sandifer & Jessi James Photographs by Stanton Stevens