Interviews – Page 5 – Agenda Magazine Archives

Chaz Dean, Creator of WEN: Changing the World One Head at a Time.

Chaz Dean, the Creator of WEN: Changing the World One Head at a Time

Chaz Dean is a stylist, photographer, and inventor. He has a celebrity client list that includes the cast of “Desperate Housewives,” Alicia Keys, Ellen Degeneres, Paula Abdul, Laura Dern, Charlize Theron, and countless more, and his revolutionary non-shampooing cleanser is changing the way we view our hair.

Harsh detergents and sodium laurel/laurel sulfates found in most shampoos inspired Chaz’s ingenuity. We agreed that most inventions came about out of sheer necessity. The development of WEN, Chaz’s universal hair cleanser, was no different.

WEN is formulated with the perfect balance of herbs and natural ingredients to eliminate shampooing without sacrificing the beauty of your hair. WEN is a new approach to the way you cleanse your hair.

In high school, Chaz Dean started in photography. After he completed high school, he wanted to incorporate those visions he saw in his head with photography without relying on others. It was that very element that got him into hair. So he went to school for hair, andafter graduating, he moved back to Los Angeles and pursued a career in hair and color. Hair was a passion for Chaz. Eventually, his photography took a back seat. In 1985, Chaz worked for a company that had its own product line, but the company didn’t have its own deep conditioner.

“I always wondered why we ordered high pro packs from other companies.”

That very company asked him to develop a deep conditioner. In 1986, he jumped at the opportunity, and 9 months later, the same company asked him to help them develop a “natural” product line. At the time, Aveda was the only natural product line out there. And a year later, Chaz developed another product which is now called Sexy Concepts for which he developed the Primrose Shampoo, Sage Conditioner, and Rosemary Conditioner which arrived on the market in 1989. Shortly after that, Chaz began developing his own “non-shampoo.”

“I got tired of my clients complaining that after their salon visits, in approximately two weeks their hair color faded, became brassy and dried out. I knew the detergent and the lathering from the shampoo was causing this. I compare it to when you use a cotton swab with alcohol, and you wipe your t-zone. In five minutes it’s squeaky clean, and within ten to fifteen minutes it’s oily like an oil slick. This happens because your brain tells your body that it needs to replenish the oils, so it works overtime at a really rapid pace.”

Chaz knew that the detergent was stripping the hair of its natural oils. He began mixing and matching and pulling things from his garden and his courtyard to see what could cleanse the scalp and still keep the hair hydrated. From there, he developed the product-line which took five years to perfect, creating a universal product for every type of hair without the heavy residue that weighs the hair down. While testing his products, Chaz’s clients complained about having dry scalp, or other scalp disorders, and they requested he also develop a non-medicated hair product. That’s when the Tea Tree Cleansing Conditioner (which has medicinal and healing properties) was developed.

“In the 1980s people would get their hair colored in the salon, go home with a bag full of products which included shampoo, conditioner, deep-conditioner, de-tangler, leave-in conditioner, a gel for hold, a polishing gloss for shine, and a hairspray. They would go home with a minimum of five to eight products. When they came back in for their next treatment, they complained that they never used the products they took home. It was too confusing and complicated to figure out, or they didn’t have time, and they just wanted the whole process simplified. This is the reason I condensed it. (My products are also great as a body wash, and they are amazing for shaving because of their astringent and anti-bacterial properties). I also created the styling cream, which replaces light weightless leave-in conditioner for moisture, polishing gloss for shine, and a light gel for hold. I found that with every client I worked on, I always used a minimum of those three products. I wanted to put all of those into one.”

While developing WEN, Chaz continued to listen to his clients’ feedback and took them from eight products down to just two, sometimes even one.

The WEN is great for ethnic hair, too, particularly African American textures. The complication of ethnic hair was the impetus for his creation of the Fig Cleanser, which has been out since April 2003.

“I developed the Fig because everyone was flat-ironing, bleaching, and straightening their hair. Their hair was so brittle and dehydrated that the Fig Cleanser is the most moisturizing, and it doesn’t weigh the hair down. Ethnic hair, particularly African American hair, in most cases, needs more moisture than other hair types.”

(He describes Fig like a sponge—it retains moisture.)

During the first two years of its development, Chaz refused to wholesale WEN to any outside vendors. He wanted to hear all the feedback. Ninety percent of the feedback was extremely positive, but the remaining ten percent concerned Chaz. After careful questioning, Chaz discovered that his clients were either not leaving the product on long enough, not using enough of it, or not rinsing it out well enough. Once his clients stepped it up, they were really pleased.

“That’s why WEN really has to be explained because there is nothing out there like it. From birth we are taught that the more lather, the more suds, the more bubbles, the cleaner, the healthier and shinier the hair. This is just not the case. Imagine that you had a saucepan and you made pasta and you poured out the sauce, or imagine your four-wheel truck was covered in dirt. You are not going to take a sponge and start smearing all the dirt around. You’re going to rinse it thoroughly first to get most of the dirt off the truck, or most of that sauce out of that saucepan before you start taking that sponge and smearing it around. It’s the same principle with your hair. You want to rinse it thoroughly and completely first to get all the dirt, grime, hairspray, gels, oils, whatever is in there already, out. Once you’ve done that, your hair is no longer robbed of its essential oils which are beneficial to the hair and which give the hair its shine and body.”

As with most new ideas, Chaz did encounter resistance, but he knew how to win people over. He was doing hair for the HollyRod Foundation fashion show, a charity event for Parkinson’s disease. Nicole Murphy, who is on the board of Design Cure, attended the event regularly. After seeing her at several events, Chaz finally approached her in April 2005 at the Rock N’ Republic show and rounded up the courage to introduce WEN to her. Nicole looked at him with the usual skepticism he received from women of color.

“I explained that Holly Robinson Peete, Halle Barry, and Tisha Campbell-Martin regularly use my products. Then, I explained the process to her and invited her to my salon. Now she is one of my regular clients. When clients leave my salon, they are amazed at how wonderful their hair feels.”

Chaz Dean’s Highest High:

Since November 2000, my intentions were QVC, Guthy Renker, and Oprah Winfrey because I am trying to change the world in the way people cleanse their hair. These three are a platform to explain the product. In January, I met Oprah on the set of Desperate Housewives and handed her a gift bag of the product, and I ended up in O Magazine October 2005. Three weeks later, QVC called me, and I was on in August and October of 2005, and three times last December. I am now in negotiations with Guthy Renker and there is an offer pending.

Chaz’s Lowest Low:

When I started Chaz Dean Studios, it was burglarized, and in September 1997, my mom was re-diagnosed with cancer (she passed away February 2001), my partner and I of 2-1/2 years broke up, and my brother drowned. All three events happened in the span of one month. This made me realize how short life is, but because of that I have grown in tremendous ways.

Chaz Dean wants to change the world one head at a time. It’s the joy, the happiness, and the testimonies of people who’ve hated their hair their whole lives that propel him forward.

“ I believe you won’t know the changes you’ve made in someone’s life until you’re on the other side. And then you have that panoramic view of ‘wow’ I can’t believe I had such an impact—it’s the ripple effect. It’s so important for people to search deep down within themselves and decide what it is that will make a difference.”

To learn more about WEN, visit www.chazdeanstudio.com.

Written by Kaylene Peoples

SANJANA JON – Following Her Own Footsteps

SANJANA JON
Following Her Own Footsteps

Sure, Sanjana Jon may be known as the adorable sister of creative couture designer Anand Jon. But take note—this vibrant New York based Indian designer is pouncing on the world of fashion to make her own footsteps. With her recent launch of three indepenrdently driven lines of women’s wear, Sanjana is sprouting to stardom.

She showcased her Spring 2006 debut collection during New York’s Fashion Week early September, and with delight, recalls the standing ovation that closed her big night, citing in attendance “very, very important people.” Sanjana’s spring collection is lifestyle-conscious, offering diverse ideas for women to utilize. Her prêt line consists of daily wear for teenaged girls to the 30-something year-old; the diffusion line includes Western and office wear for women; and her beloved platinum line introduces custom-made high-end bridal wear.

“It’s a passion for me, and I want to share that special day in a girl’s life,” Sanjana says about her platinum line, which embraces a time of new beginnings.

It may have been the “girly” rebellious gifts of halter top-like fashion her mother would bring back from London to a “conservative India” or the years spent creating jewelry with her grandmother and Anand growing up—or both—that has inspired Sanjana’s adoration of art and fashion.

Marketing consultant of the Anand Jon brand since 1998, Sanjana has co-designed his fine jewelry line as well as his upcoming men’s AJ Jeans line, admitting that her brother’s push and encouragement helped her creative fashion ideas come to life. And with adoration from all around, Sanjana acknowledges the support from her family, including her grandparents.

Having designed for Hollywood notables like Paris and Nicky Hilton, as well as for models Ivana Trump, Amanda Hearst, and Devon Aoki, Sanjana is busily meeting with buyers for her collection’s US availability—most likely landing in flagship stores first. Yet overseas, stores in her name have opened this October in Delhi, Bombay, and South India.

Backed by IG International, Sanjana has taken part in the Miss Universe campaign for the last three years, designing chic ensembles for each winner, and accompanying their trips on behalf of charitable causes. This year, she kicks off the “Aids Awareness Tour” to India mid-November with Miss Universe 2005 Natalie Glebova.

From first showing off her brand during the Cannes Film Festival in May 2004, prior to her coming out during New York Fashion Week, to being named the “Vancouver International Rising Star 2006,” and now her gusto toward directing a feature film, “Spirits and Spirituality,” set to show in 2007, Sanjana Jon is as humble as they get.

Yet as impressive as can be!

Written by Elana Pruitt

Biatta’s Jaymi Zentner: The Designer Behind the Line

Jaymi Zentner has been the head designer of Biatta for nine years. Originally working in surf, skate and snow active wear, she freelanced as a bathing suit designer until she was offered a position at Biatta when she was only twenty-one. Jaymi took the position and commuted for two years from San Diego to Los Angeles, a two-hour drive. Because she was so young, she never really expected to stay with any one company for very long. But now, almost a decade later, she can’t imagine doing anything but lingerie.

“I actually thought I was going to be a lawyer from the age four to seventeen. I was in a Poly-Sci class, and the professor saw me drawing dresses. In the middle of the lecture, he told me that my doodles would never make me any money. That day I dropped that class and decided to go to FIDM. I told my parents I wanted to be a fashion designer, but they had great plans for me to go to Stanford, Harvard, etc. It really didn’t go over that well. I knew I couldn’t be happy arguing for the rest of my life, but since I had to appease my parents, I attended both UCLA for communications and Korean language, and FIDM for fashion design concurrently. I never really thought I could make money with anything that had to do with really creative things. My father, who is a businessman, was also an amazing artist. He just did his art as a hobby. So I thought I would do the same thing, but quickly realized that wasn’t going to work for me.”

Jaymi designs pretty much everything that is Biatta. Kim Munoz, her associate designer, designs the Miss Fifi junior line, as well as assists her when she needs to get things done. She also has assistants that help with fabric buying and other processes.

“It’s great because I have this creative bond with four other people who really get what I want, and they really give me great input. We learn from each other.”

There are several segments within Biatta: one line is geared toward young contemporary; another line follows trends. There is the Biatta Collection, your day-to-day panties and bras. These garments have a lot to do with mesh and lace. There is Linear Essence, which is a basic sheer, striped fabric with a lace trim and high contrast colors. And lastly, there is the “seamless” program, a process done mostly in Europe in a special Santioni machine.

Most people do seamless in an athletic way, but Biatta does it in a pretty, feminine way. You can wear it under anything without panty lines, and at the same time, it is still really sexy and pretty. There are only a few fashionable seamless in the industry, and Biatta’sseamless has been well received. Jaymi describes the entire seamless process as somebody putting yarn into a dryer, and then opening the dryer, and suddenly there’s a garment.

“When they showed me the seamless process, I thought to myself, this is the craziest thing I’ve ever seen! I was amazed, and I must have stood there and watched fifteen garments get made. It was incredible. It’s definitely like a little magic dryer.”

When Zentner thinks about the lingerie customer, she considers herself to be that customer—a fun person with a lot of personality who isn’t afraid of color.

“When you design for that person, it’s so much more fun because it’s not this basic ho-hum black-white, nude kind of thing. Although we have that business, but Biatta is known for their colors and prints.”

When putting the colors together for Biatta, Jaymi attends a lot of trend seminars. She pays attention to what colors she innately feels are becoming stronger colors. She even looks at interiors. She’ll shop at furniture stores just to see what they’re doing. After Zenter researches the trends, she puts together a palette. The front part of her palette is most likely her primary colors that she will be working with for that season. The secondary palette will be her accents, or more contemporary colors. Both palettes work well with both the younger, as well as older customer.

“I think lingerie traditionally has been more pastels, but I think that there are other women who feel sexier in brighter colors. So I went through a phase where I was doing a lot of bright fuchsias and oranges and teals. If you look through our line, I work with all colors to complement everybody’s skin tones.”

”After fifty-five seasons, I can still remember my first couple of seasons. I remember the infant stages of the company. It has changed so much since then. I remember back then we were designing these panties that literally went up to your belly button. It was insane. And now I look back and realize it has changed so much. The fashion now is to be quite low because pants are lower.”

Jaymi Zentner’s Highest Highs:

“There have been so many highs. I can’t even really pick just one. I think just seeing my stuff on stage makes me ecstatic. I also love it when I see someone wearing a Cami of mine as a shirt. Every once in a while a woman will wear my lingerie as a top to go out in. I was at a concert the other night and I saw someone wearing one of my tops. Another high is every time something comes out that I think looks really great, and there is a huge reaction to it. Those moments are precious.”

Jaymi’s Lowest Lows:

“When something that you loved in concept did not end up looking the way it should have, or didn’t sell—it makes you question yourself. It makes you feel like, gosh do I know what I’m doing? The self-doubt, those are the lowest times. Nobody wants to feel like they don’t know what they’re doing. But there will always be that group that doesn’t sell, and I don’t like it.”

Jaymi’s advice to young designers:

“Get an education, and then intern to get a feel of what you want to be doing. Put in the time because it’s really hard when rookie designers come in and they feel like they’re entitled. You have to work really hard in this business. It’s really competitive. You have to be willing to put in the time for free sometimes. The other thing that young designers need to know, and I don’t think schools are teaching them enough of, is they have to be computer proficient—that is where the competition comes from. Once they get the experience, and can actually draw everything on a computer efficiently, they have to pay some dues and be ready to be an assistant for a couple of years, and then good things can happen. There’s nothing better than a person who’s really excited about design. But people have to realize that part of design is not glamorous. It’s the follow-through and the production of it all. It’s making those great ideas come to fruition. If you can just get through that, then you have a lot of time to be creative. It’s awesome!”

Written by Kaylene Peoples

Shani: Independently Breaking Her Own Ground

Shani – Independently Breaking Her Own Ground

I have always admired pioneers, maybe because I’ve been trudging through the trenches trying to create my own place in the world, or maybe it’s because what seems so effortless is really one of the most daunting tasks, or maybe because there are so few “individualists” who actually succeed in breaking those barriers, and getting heard.

Well, Shani, a beautiful, and powerfully gifted talent, is who I might call a pioneer. Shani is a recording artist, actress, and producer, and she has recorded four albums. She has appeared in films, and is nominated for several Grammys this year with her newest CD entitled “At the Casbah.”

Imagine that you are a sweet young girl from Arkansas. Imagine you are pretty and sexy. Imagine entering a world where the proverbial “casting couch” is commonplace. Now imagine a salmon swimming upstream, but instead of preparing to lay her eggs and die, she plants her seeds, and actually reaps a harvest. Shani is that salmon. She recently won Best New Hot AC artist for New Music Weekly Awards, and her hit single “Destiny” is in the Top 10 Hot AC radio charts. Her hot new single “Get Somebody” is the Top 3 “Most Added” / Chart bound. Shani’s music has also been featured in the motion picture Crash, and she was a featured vocalist for The House of Sand and Fog and “Sony Playstation.”

I had never heard of Shani before. Since I am a jazz aficionada and Broadway enthusiast, her genre of music wasn’t my usual staple. But my curiosity was peaked when I was at the Independent Music Network (located in Studio City, California), where I met the publicist, Debi Fee. Debi told me a little about the rising star, so we set up a meeting at the local Starbucks. During that brief “meet and greet,” Shani exceeded my expectations. She was incredible!

I later met Shani at her home in Studio City. Just as I had expected, her home was decorated exquisitely—all her own doing, of course. (After meeting her, I wouldn’t have expected anything less). Shani was a gracious host, and she, along with her three well-groomed dogs, met me at the door. We chatted for at least an hour before I had even set up for her interview, during which she spoke candidly about her experiences as an independent artist.

Shani has successfully combined today’s hip-hop sound with polyphonic beats and Eastern modes and instruments. Shani’s music has layers, and with each listen, it grows on you more and more.

Shani’s music reminded me of Omar Sharif’s Laurence of Arabia and those sweeping epics that were made 60 years or so ago. If I closed my eyes while listening, I saw sand dunes and Middle Eastern princes riding their camels, and I thought about the big movie studios that had signed actors and actresses like Rudolph Valentino, Humphrey Bogart, and Lauren Bacall.

“There are a lot of things that I’m dabbling in today, which are helping me to push the envelope. My new CD is called “At the Casbah,” which is a little bit of an exotic title. I tend to use exotic instruments and world music melodies. It’s also a hybrid of other musical styles. It has hints of R&B, jazz, and hip-hop. It’s sort of a thematic concept record in that it takes you through a musical journey, almost like theater in a way.”

First and foremost, Shani is a writer. She writes her own music and lyrics, and loves to collaborate with other writers. On her current project, there are a lot of featured writers. She never set out to be a producer, but she really wanted to get her vision realized.

“Lyrically, I wanted to tell a story. It’s like soundscapes. For me the transitions of the songs, and while putting the order of the songs together, there needed to be a flow. Where you start and where you end are completely different places. Hopefully you’ll go through this big ride once you sit and listen to the CD for an hour. That was my intent anyway. It’s bizarre to be in the ‘swinger’ era, and then all of a sudden you’re in modern day hip-hop. But it works.”

When Shani was a child, her father had introduced her to rhythm early. He was a drummer and had a huge record collection ranging from Stevie Wonder to Diana Ross.

“ I liked singers who didn’t show off vocally, but knew how to interpret songs. Sting was a big influence, and Prince was too. I think I zeroed in on Prince because here was a guy from Minneapolis, playing rock guitar with a Beatlesque influence, and then he goes into this funk zone. There were elements of jazz too. I loved his records because they had such a mixture of styles. What came out of Prince was this unique, very unpredictable presence. It wasn’t one of those records where all ten songs sounded alike. I loved that about Prince, and I always felt like I got my money’s worth. So for a young writer, that was a big wake-up call. It was okay to venture out and try new things. The hardest part was getting the business people you are working with, to understand that as an artistic statement.”

When Shani moved to Los Angeles, she was exposed to Middle Eastern influences. She knew instantly that those influences would become a big part of what she did. She immersed herself in that culture and learned the intricacies of Middle Eastern music. She has worked hard to bring that to a Western audience. This was very difficult without the support of the industry.

“At first, nobody got it. I was constantly going back to the drawing board, and trying to improve upon my formula. As a result, each one of my albums sounds a little bit different.”

Shani sings in three languages: English, Farsi, and Spanish. To Shani, her music is very pop, but she admits that for an industry person working in a pop field, it was very left of center.

“A lot of times when people think of world music, they think very serious, solo instruments, and people sitting on the floor playing traditional instruments. Inside of world music, there are a lot of layers. To me, my records are pop, but the industry doesn’t really look at it that way.”

The natural evolution of Shani’s sound is obvious when you listen to each one of her albums: “Undercurrent,” “Call of the Wild,” “Velvet,” and the completion of the Middle Eastern/Western cycle is most apparent in her latest album “At the Casbah.”

“Surviving in this industry as a female has been one of my biggest challenges. Being a female who is not afraid to be a female, for example, I am not downplaying my femininity. Back in the 90s, there was a movement of female singer/songwriters—not that they weren’t feminine––but I think of artists like Alanis Morrisette. When she came onto the scene, she had this very intense, almost angry angst. When you see her now, she’s actually quite feminine and soft. And not that musically you can’t have that range, but I personally believe that was by choice. Because it’s very hard to be feminine and soft, and also be taken seriously.

“I went to a party with a guy I work with, and we were meeting someone new, and a question came up about the album. It was interesting to watch the eye contact of the person going to him. The new guy asked, ‘Oh, so how long did it take you guys to record?’ and I would answer, and his eyes would have to go back to me. This went on for a couple of minutes until finally my male friend said, ‘I didn’t do anything on the record. She produced it.’ I thought how interesting, that there’s just an automatic assumption that I’m just the singer. Somebody finds my songs, puts it all together, and I just show up in the end. That always irks me. You don’t hear people questioning that with men at all.”

Shani attended junior college and studied architecture, psychology, and art history. Her experiences with those subjects seem to affect her music. These influences are elements that keep you listening. These, along with polished arrangements, clever lyrics, and a pleasing voice, are what make her music work.

What inspires Shani’s lyrics? It could be a trip to Italy or the plight of her friends or even her training as an actress. She states that while studying acting, she has to be in touch with her feelings at all times, and this plays a big role in her songwriting.

“My influences early on in songwriting were ‘show me don’t tell me.’ It’s almost like channeling and writing in a metaphorical way. There are other ways to say I love you. I learned to open up and hear dialog that could say the same thing without being so blatant.”

Shani always knew that she would be in front of the camera. She started acting when she was only four. When she came to Los Angeles, she immediately got an agent, and her manager was adamant about training.

“This is where I learned about layers. In actuality, all you’re really doing is peeling away the layers to get down to what’s really real. I went through a few years of training while also touring. Eventually people knew me from my music, and began offering me projects in films, and this ultimately led me to producing. Why I keep adding more things to my plate, I’ll never know. But it makes for a very interesting ride.”

So what is Shani’s secret? Hard work, determination, and a constant presence. She never gives up. She is constantly educating herself and perfecting her craft. Maybe that is why she’s climbing the charts and winning awards at such a rapid pace. Shani is not only a pop personality in the Middle East, but this young lady from Arkansas continues to beat the odds; but she is helping to bridge the gap between Middle Eastern music and the Western world.

Shani has proven to the world that there is nothing substandard about being an independent artist.

“At the Casbah” is scheduled to release early this year. To learn more about Shani, visit www.shanimusic.com.

Watch the videos.

Written by Kaylene Peoples

Eva La Rue: Holding her Own

Eva La Rue: Holding Her Own

The dark hair, glowing tanned skin, pearly whites, and an impeccable taste of fashion! Yes, Eva La Rue was that knockout doctor from soap favorite “All My Children.” And whether you used to TiVo the love affair between Dr. Maria Santos and Edmond on a daily basis, or now pull up a front row seat to CSI: MIAMI to keep an eye on the likes of Natalie Boa Vista, La Rue ain’t goin’ nowhere. She’s learned how to stay afloat in an industry that is competitive, frustrating, and ultimately rewarding, all the while embracing a unique sense of fashion.

Despite La Rue’s recent leave from her on-and-off 12-year stint with “All My Children,” she continues to explore acting and its many facets. In addition to her role on CSI: MIAMI, she is also a co-host for E! Style Network’s “Modern Girls’ Guide to Life.” And due to network demands, La Rue had to say good-bye to ABC’s “The George Lopez Show,” in which she played the recurring role of George’s sister. So with the “energy” that comes from working on a sitcom, the 40-to-60 page-dialogue grind of daytime acting, and the “instant gratification” of live theatre that she’s also pursued, does she prefer one type of acting to another? Enjoying her time spent with the George Lopez Show, La Rue hopes to one day get a chance at another recurring role on a situation comedy.

As for entertainers that cross over, La Rue is a prime example that actors can do more than act. In 2002, she had the chance to team up with veteran producer/songwriters Clay Ostwald, Tommy Anthony and Jorge Casas to work on a musical project. Hence, her first album was born and titled “Only You.”

With a lengthy list of film and television credits, especially for co-hosting the “New Candid Camera” with Dom DeLuise years earlier, which led her to host “The Miss America Pageant,” La Rue’s smile and vibrant personality are practically impossible to shake out of your head. Having graced the covers and having been featured in magazines like Fit, FirstFor Women, Woman’s World, Cosmopolitan en Espanol, and People, her image has always seemed flawless and her fashion sense glamorous. When it comes to the world of couture, from sitting front row at Los Angeles Fashion Week shows to livin’ it up at New York Fashion Week season after season, how does she describe her own style?

“I’m not a trendy person,” La Rue admits, describing her style as classic and sophisticated. “But if I’m going to buy trendy pieces, I’m going to go to Forever 21 or Arden B. Then I’ll mix that up with Prada or Gucci.”

She may also want to own up to being simple and chic. Spotted up close and personal at the Spring 2006 Single show at Smashbox, La Rue adorably posed for the press wearing cropped trousers, pointy mules, and a crisp white tank. And to add a little spunk to her outfit, around her neck she wore a pearl necklace clasped with a black ribbon for an incredible finishing touch.

Grounded in her fashion taste and driven by the commitment she has to daughter Kaya, how does America’s Sweetest actress stay grounded with work—a business that has ever-changing standards and expectations?

“You win some, you lose some” is how it goes. And La Rue probably couldn’t agree more; but everyone knows rejection can sting. So keeping herself in tune with the reality of Hollywood and the drama that goes along with auditioning, testing, and flying to and from New York to make that appointment, La Rue gives insight on how to just relax and take it all in stride.

“It’s frustrating—a really crazy-making business,” she says. “When they say ‘no,’ it’s hard not to take it personal.”

La Rue says that staying sane means accepting that “If it’s yours, it’s yours, and if it isn’t, it isn’t. All of heaven and earth will open up if you were meant to have that part.”

Kudos to you, Eva!

Written by Elana Pruitt

Vivienne Westwood Trunk Show at EM & Co Review

There are a lot of reasons I like British designer Vivienne Westwood. The most obvious is the haute couture wedding gown worn by Carrie Bradshaw in the recent movie Sex and the City. That wedding dress has become widely recognized as one of the movie’s most iconic features. Westwood has won awards for her services in fashion, as well as her three-time win as British Designer of the Year. That’s why when I received an invitation to the Vivienne Westwood Trunk Show, held locally here in Los Angeles by EM & Co, I had to attend. The event was held just before the holidays in late November 2008. The clothes at the show were select pieces bought specifically for the store representing the fall 2008 and spring 2009 collections. Items from the Anglomania collection were worn by models who added to the eye candy of the gallery-like boutique. The catered event hosted a DJ and was sponsored by Modern Luxury’s Angeleno Magazine. It featured an Absinthe Bar from Mata Hari Absinthe Bohemian, Vodka cocktails from Marani Premium Vodka, and appetizers from Tasca Wine Bar.

The styles shown for the spring ’09 collection are the most representative pieces from the collection that show the essence of Vivienne Westwood’s styling and direction for spring ’09. We buy the collection pretty extensively, so the pieces shown represent about 70% of the styles in the collection (many of the styles are available in different colors & fabrics). -EM & Co Rep-

One of the highlights of the evening was the arrival of celebrity painter Biago Black’s painting of Vivienne Westwood. It is the latest piece in his collection currently at EM & Co, featuring iconic women. The large format captures the larger-than-life influence that these women have in defining style and creativity.

Biagio Black’s artwork, displayed at various special events in Paris and on both the East and West Coasts, has most recently been displayed at the “little black dress” charity event in Los Angeles. His art has been tied to fashion since 2005, when he first participated in “The Many Faces of LA Fashion Week” event presented by Ford Models and GM and an earlier ‘little black dress’ charity event. Black’s celebrity portraits have become collector items. -EM & Co Rep-

The event was packed with recognizable faces, including current and former members of the Pussy Cat Dolls (Melody and Carmit Bachar), not to mention Diva Zappa, Billy Duffy (The Cure), Dallas Harrison (VH1’s “Rock of Love” & “Charm School with Sharon Osbourne”), and more. Celebrity stylists, including several representatives from both print (People, Genlux, Beverly Hills Times,CA Apparel News) and online magazines (ifashionnetwork.com and Chic Today) were in attendance.

EM & Co supplies fashion-conscious shoppers with a well orchestrated mix of fashions from world class designers (i.e., Vivienne Westwood, Iodice, JC de Castelbajac, Beatriz), as well as innovative styles from emerging L.A. talent. Featuring over 30 lines from around the world in its gallery-like space, EM & Co is also an active supporter of local talent, hosting monthly art exhibits and other events featuring local artists and designers. Located on West Third Street for over three years, the boutique has established a fast-growing loyal following among celebrities and stylists who regularly come to find unique pieces and a well edited selection to suit many styles. EM & Co carries lines from around the world, including Ilaria Nistri, Luis Da Gama, Made, Twinset, Iro, Jean Paul Gaultier jeans line, Beatriz, Aoyama Itchome, Earth, Badgley Mishka, as well as local designers who create one-of-a-kind pieces: Galadriel Mattei, Kiki Designs Jewelry, Micha necklaces and bracelets, and casual chic pieces from Viereck). 90% of the jewelry in the store is from LA designers.

Guests enjoyed vodka cocktails from Marani Vodka and sampled powerful absinthe concoctions at the Mata Hari Absinthe bar. The truffle home-made potato chips and delicious risotto appetizers were provided by Tasca Wine Bar and Restaurant, located on West Third Street. The make-up for the three models that featured Vivienne Westwood styles throughout the evening was provided by the Make Up Art Group; the hair styles were done by William Williams of Hair by William.

Reviewed by Kaylene Peoples

Interview with Costume Designer of “The Starter Wife” – Agata Maskiewics

Interview with Costume Designer of “The Starter Wife” – Agata Maskiewics

Just how does a costume designer develop a character’s wardrobe? Agata Maskiewics, the lead stylist of Debra Messing’s character, “Molly Kagen,” shares her experience with Agenda . Styling a top actress like Messing on a hit mini-series that received 10 Emmy Award nominations, well, this Polish costume designer is fulfilling her dream. With her own unique “start” in the fashion industry, from the bottom up, Maskiewics talks about her inspiration, the role of a costume designer, and two common sense fashion philosophies to live by.

Where do you get your inspiration in styling Debra Messing’s character on “The Starter Wife?”

A lot of my inspiration for Debra’s character comes from fashion magazines. I look throughjust about all of them and try to find a way to incorporate those pages and the runway looks into the wardrobe of Debra’s character, Molly Kagen. I also love watching women in Beverly Hills; Molly’s character is a combination of the many varieties of shopping and lunching ladies of Los Angeles. And since our production is in LA, I’ve had the incredible privilege to create Molly’s look by pulling from the latest offerings at high-end designer boutiques and upscale department stores.

How involved are you with the script for each episode? How far in advance do you plan Messing’s outfits?

Making a TV show is a very collaborative experience; I usually get the script for an episode two weeks in advance of filming. After reading through the script and making notes, we typically have a few meetings with the producers, director, and writer so we can discuss how best to get their ideas across. Some outfits I have in my mind for weeks, just waiting for the right scene and occasion to use them. I also have photos from earlier fittings and pick up different pieces of clothing a few days ahead of time, but the complete wardrobe for the episode pretty much comes together at the last possible moment.

What type of satisfaction do you get from being the lead stylist on such a popular show?

I must say my job is a tremendous amount of fun, even though there are certainly times of chaos. I love working with beautiful clothes and shopping, so that alone is a wonderful perk of the job. I really like seeing my ideas visualized on the screen and take a lot of satisfaction from that. And being able to design a show like “The Starter Wife” has been an amazing experience because I’ve had the opportunity to create fashionable looks along with a range of costumes for the many fantasy scenes Molly has throughout the season. Those are always a lot of fun and a challenge to figure out with each new script.

How has your education and experience led you up to this point?

I started working in the film & TV industry after graduating from the Fashion Institute of Design and Merchandising, where I studied fashion design. Before that I went to art school in Poland, which is where I was born and raised. I started as an intern on a feature film and worked my way up holding various positions in the costume department. I think the experience of starting at the bottom and working my way up the ranks through the years has taught me just as much as my schooling. There is definitely something to be said for on the job training, and sometimes the best thing is to just get in the trenches and get that experience.

What other television shows or events have you worked as a stylist?

I have worked as an assistant designer on many different projects, the most notable being “CSI.” I then was the costume designer for “CSI: NY” and “Close to Home.”

What type of advice would you give someone who wants to be a celebrity stylist?

I’m not really a stylist; I am a costume designer. Although the two are often confused, there is quite a difference between them. As a costume designer my challenge is to help create a character through what the actor wears. I don’t actually style celebrities. However, my advice for either area would be to make sure you have a passion for this line of work, the hours are long, and it’s not a glamorous lifestyle. It can be rewarding, however, and I am lucky enough to love what I do.

What are your fashion philosophies?

There are two main philosophies that I preach when it comes to fashion. One, make sure that whatever you are wearing fits you properly; nothing ruins an outfit faster than a bad fit. Luckily, it’s easy and relatively inexpensive to get the necessary fix, as any good dry cleaner can easily make basic alterations that will make all the difference. And two, always wear your clothes with confidence. Whether you are dressed in high-end designer pieces or a great find from the thrift store, walk tall and with a dazzling smile. Nothing sells a look better than confidence.

Elana Pruitt

Bollywood’s Pooja Batra – Brains, Beauty, and Talent Crossing Continents

Mumbai, formerly known as Bombay, is the home of Bollywood star Pooja Batra. Mumbai’s population alone is 13 million. And if you take into account the entire population of India being over 1 billion, one could say that Pooja Batra is a bigger celebrity than any one star here in America. Naturally, Hollywood crosses continents, and most blockbusters are translated into several different languages across the globe. But for the dense population that exists in India, becoming a superstar there really carries a lot of weight. I recently interviewed Pooja Batra in her lovely American home, and got a crash course in Bollywood.

When looking at Batra’s background, it’s no wonder she took the title of Miss India and stole the hearts of millions on the big screen. Her mother, Neelam Batra, had preceded her a generation prior as a Miss India before Pooja took the crown. Pooja attended Kendriya Vidyalaya, was a good student and athlete, and ultimately received her MBA in marketing from Symbiosis College. She modeled professionally, and after her Miss India victory, catapulted to stardom. In her career, she starred in 22 films, won Best Supporting Actress and was nominated as Most Promising Newcomer forVirasat. In 2006 she was nominated for Best Actress for Taj Mahal-An Eternal Love Story.

At the time of my interview with Pooja, she was preparing to go home to India to climb the base camp of a mountain. She was very excited about it. It was the first time she was officially trekking.

“Every time I go back to India, I read the scripts to see if there’s something I want to do. It’s just great to go back home.”

Tell me a little bit about your acting career.

After you win a title like Miss India, a lot of people come up to you and ask you to be part of a movie. I did train to be an actor. I got my diction, voice coaching, and whatever the norm was [so that I could be prepared]. My first movie led me to more and better films. I did 22 films, so that was a great journey in my life.

You must have been doing five or six films a year.

I literally did do five or six films a year! That was a busy phase. And I enjoyed it while I was doing it. It’s just a phenomenal profession to be a part of. It’s amazing to emote and make people happy, cry, set up emotions. It’s such a huge industry. I was lucky that I was part of it.

How did you get your first role?

I auditioned for it and my director was looking for a fresh face. He somehow liked me without makeup. He liked my expressions, and he said, “You’re my girl.” So there I was. He liked the innocence.

What was it like to win Miss India?

It was probably the best phase of my life. I was 17 when I won it, and for me, everything opened up [after that]. I could practically do anything I wanted. I went from being a nobody to suddenly people knowing my name. I was lucky because there were so many beautiful girls.

When did you land your first role?

I think I was 21. I modeled for about five years and I did not want to get into the film industry. I didn’t know much. I wanted to get the experience of traveling. And modeling is very female based. It’s great money, traveling, and I made great friends. I was enjoying that. When a good role came, I made the transition.

Tell me about the films you’ve been in.

I don’t know if you know about Bollywood movies. They’re mostly singing and dancing. They’re like Moulin Rouge, for a lack of a better example. It’s more like a fantasy land where they take you and they show you the love and emotions. They come up with amazing story lines, sets, and songs.

You’ve lived here for how long?

Three years. I go back and forth to India.

Are you still making films now?

I am involved right now in helping my fellow producers and actors in India get here. A [while back] I helped a producer acquire two Hollywood actors for a Bollywood movie. I knew their agents and managers, and I sort of put the deal through. So this is the first time in a proper legit Bollywood movie that Hollywood names?and big names?did cameos. That’s what I did. I am helping as much as I can because I’m proud of who I am. If somebody needs anything from here, I help them. I helped to acquire Sylvester Stallone and Denise Richards for this project.

Are you looking to possibly do films out here?

Yes. I would love to. It’s just a different setup here. The market hasn’t really opened up to me or my kind of people. So until it does, I’m polishing my craft.

You’re right. It’s an untapped demographic in film.

A little bit in television because the scale at which Indians are doctors and lawyers. They would try and show them, but not as much.

You don’t really see them starring as much.

Not as much, but maybe it will open up. Because now anywhere you go, the fifth person literally is an Indian.

In regards to having a hand in merging American stars with Bollywood, you have moved from beauty queen–to being in front of the camera–to literally being in the background.

Only vocationally. This is something that fell in my lap. I took it as a challenge and I did it. It was fun. It’s a great achievement, a sense of validation. And then it does [well] for everybody. It opens up another country and fan base for them (India), which is huge. India’s booming right now. They have the money. Their technicians are amazing. Their stories are great. So why not?

How would you say the transition was from India to the United States?

It was very hard. The first three years of my coming here and trying to adjust were miserable. People couldn’t understand my accent. It was hard. Just the sense of belonging didn’t happen. I think I had to get out of the mold of just being in my community and friends. I had to figure out how to be a part of society. In New York it was so easy. Anybody from any part of the world can come there and be a New Yorker. Here, it’s a little hard. The first two years were hard, but now I love it. I have great friends, a great husband . . . I have a good setup, and now I just love it.

India has the densest population in the world?

Yes, per square foot. I think China has the most.

Was that an interesting change for you the first time you came here?

Yes, because I am used to a lot of people around me, in front of me, everywhere. Here, when you come per square feet, people are limited. Even when you go out driving, there’s one person in the car as opposed to the entire family like in India. But L.A. does have a somewhat dense population.

As far as acting, you’re on hiatus until a break comes for you out here?

I would say yes. If something good comes from India, I’m more likely to do a project from start to finish. In India everything depends on the actors. They do six to seven movies at a time in a year. Not just one at a time. So when you get a movie, you’re literally going back every month. And that’s not cost effective for the producer or for me.

What is casting like in India?

It’s very lenient. There are no proper casting directors. My casting for my movies consisted of sitting across from the director. He would look at me and he’d say, “Okay, she can doexpressions.” Or I’d just learn a monologue. Here, it’s a totally different process. The filtering in over here is very hard. It’s almost unheard of to give somebody a break. Here, even if you see a pretty girl, she’s done a body of work already.

It seems as though the film industry in India is very similar to how the movie industry originally started in Hollywood.

That’s exactly how it is in India right now. The movie-making style is old Hollywood, old classic Hollywood.

Yes, very glamorous, I think.

Realistic films work [in India] but not as much. The audience wants to see “happy.” The audience wants to see Switzerland. The audience does not want to see the streets of Bombay [Mumbai].

Obviously there are films that are made that are serious.

Yes, lower budget, independent films are more realistic.

Highest High

I have had amazing highs in my life: making a box office hit, winning Miss India, acting out a good scene. But the highest high? It’s really like a series of highs. So far I would say the highest high was winning my pageant. I was stunned.

Lowest Low

A movie not doing well. But this is so temporary. It’s the living in the now and being present now and being happy in the moment. That’s what is most important. You could hit the highest high, but if you’re not enjoying it, there’s no fun in it.

When you go back to Mumbai, you’re very recognizable. What is that like?

It’s a good feeling. People come up and ask me how I’ve been, what am I working on next . . . . It’s nice.

What advice would you give to someone who’s aspiring to accomplish what you’ve accomplished?

I would say go for your dreams and your goal, and be prepared. Do your homework and do your research. Life is very short. If you don’t take chances, you’ll never know. What matters most [in acting] is if you’re able to convey the emotions when portraying a character.

What was your most challenging role?

My most challenging role is still to come. If I’ve done it, it’s not challenging anymore.

Visit www.poojabatra.com for updates and to learn more about Pooja Batra.

See the fashion editorial of Pooja Batra photographed by Ash Gupta Studio 838.

Interviewed by Kaylene Peoples

An Interview with Toni Lee – A Fitness Model with a Healthy Affirming Message!

Toni Lee is a stunning result of good old hard work, sweat, knowledge, and determination. Today we delve into the world of our multifaceted in-demand fitness model Toni Lee. You can find this talented hard body in numerous spotlight articles and photo spreads for popular magazines, such as Muscle and Fitness, and LA Sports and Fitness, among many others. Do not be fooled by the pretty face and vicious set of six-pack abs, as she doesn’t stop there. Toni is also a passionate TV/film producer, a hilarious comedian, and an accomplished musician, mastering the piano, harp, and flute. You would never know how talented this rock-hard beauty is by simply looking at her—looks can be so deceiving. This wonder woman has taken her healthy affirming messages into television appearances on UPN Channel 13 News and KTLA’S morning shows. Toni Lee lives by the philosophy that success is created by action. She is the perfect example of her own positive thinking as a successful businesswoman who shows that working on yourself each day results in a healthier lifestyle.

So, Toni, we have learned that you are a global woman. What common health concerns have you found in your travels?

I began to see the world when I worked as flight attendant some years back. It let me see the world through new eyes. I grew greatly as a person, being able to appreciate the things in my life after seeing so much of the world. I sawcommunities that have very little and those that had a lot and realized how lucky I am. No matter where I was I loved experiencing and appreciating every culture I came across.

At what age did you first begin to take interest in the health world and why?

I have always been athletic; it goes back to my track days in high school. I focused on taking my fitness levels to new heights around 17 years old to gain more confidence. At age 20 I decided to break boundaries with my body by pushing the sculpting of my body. I am very competitive, and my brother was a big weight lifter. We would work out together and I would find myself competing with him. He motivated me to achieve bigger and bigger gains in sculpting my body.

How did you first begin to learn about fitness? Was it a book, a fitness magazine, another fitness buff you know . . . ?

My brother started the ball rolling, but like anyone else I picked up the “Muscle & Fitness” magazines and started reading. I started meeting more and more body builders being so fitness-conscious, and they became a huge expert source of information. I just started to ask a lot of questions from body builder friends who knew what they were doing.

What period in your life would you say has been the most difficult in obtaining your fitness goals?

Right about now actually, its getting hard. I am “plateauing” now because it is hard to keep up an aggressive workout plan when you have so many projects on your plate. I still keep up my fitness, but it’s not the same right now because I am so busy right now. To compensate I make sure to eat extra healthy, though.

High performance fitness takes so much inner and outer strength. Is there anyone that you look up to for strength, encouragement, or advice when you are in need?

My parents are great for encouragement when I am down. My boyfriend (Jace Hall) is a huge support system. He really motivates me. Jace is very fitness and health conscious, so it makes life so much easier being on the same page inthat aspect. We have a much healthier relationship, I think, because we both love to be healthy and fit. We cook 90 percent of the time to stay at our healthiest. I do the cooking, though. I just love to cook.

What advice do you have for the average fitness enthusiast who really wants to get a long, lean body like you but has no idea how?

Go to the source. Don’t reinvent the wheel. Make your way to the bookstore, grab a fitness magazine, or ask someone who already knows. Find professional advice from someone who has been there and done that to save yourself time and frustration. Personal trainers that know their stuff are a huge asset in achieving fitness goals. They save so much time. They are worth the money—they are saving you a lot of time and keeping you safe.

As a fitness model you are exposed to your share of ups and downs in the industry, I am sure. Do you have any advice for other aspiring fitness models?

Staying fit and beautiful is the basics. You need more. The key to achieving your goals in fitness modeling is in your personality. You need to radiate positive energy. If you don’t feel positive, it shows up on the film, and you lose work. People with great energy can pick up those that have bad energy real quick. (Smile.)

What is a typical day in the nutrition and fitness life of Toni Lee? I read that you enjoy jujitsu.

I eat very healthy. I am always cooking so I can control what goes into my body. I stay as organic as possible with a good balance of carbs, protein, and good fats. I don’t do the starvation methods. I believe in balance. I eat evenly throughout the day to keep my metabolism running, and [I] drink tons of water. Some consider me boring because I don’t drink alcohol—and I don’t smoke—but I call that being healthy and smart. I work out at least five times a week, mixing up my cardio and resistance training throughout the week. Yes, I do practice martial arts. I am disciplined in Japanese jujitsu and tae kwon do, so watch out.

The world’s health needs so much attention. In your opinion what would you say is hurting us in the U.S. as the world’s worst?

Fast food by far is a big problem; bad food choices. People need to educate themselves better on what goes into their bodies. We really need to learn how to eat to better our lives. You need to love yourself first.

So what is in store for Toni Lee? What projects are you working on currently?

Well, I have several Hollywood production projects right now. I first focused on creating and producing a screenplay based on a very unique yet true family. It is a hilarious comedy. I love comedy. Life is about being able to be happy and learning to laugh, not taking yourself too serious. You can find a lot of projects at www.myspace.com/tonitv. Take a look.

I am also taking my gaming to the next level. I am a huge video game fanatic, Street Fighter IV being my favorite game. I am working on becoming a “professional Gamer.” There is a lot more to that, but you will need to stay tuned for more juicy details. Keep track of my adventures at www.twitter.com/tonitv. It will be well worth your time.

Visit www.myspace.com/tonitv for more on Toni Lee.

Interviewed by Anthony Heredia

Written by Anthony Heredia

Elmer Ave – Just Four Skateboarding Graffiti Artists Making Clothes for the Edgier, Artistic Dresser!

Elmer Ave is a design team consisting of four members: Sean Murphy, Jonny Day, Collin Pulsipher, and Ward Robinson. All four work and live in the compound located on Elmer Avenue in North Hollywood. When I was getting directions to interview them, I was surprised to learn that’s where the name came from. I had met the angst-like-rocker-formal-wearing designers a couple of years prior to our actual interview when I attended an event put on by Pure Consulting PR firm, where I met these very talented guys. I spotted a distinctively edgy sports coat and proceeded to meet its owner(s)—the Elmer Ave design team.

Since that initial meeting, Elmer Ave has shown twice at Smashbox Studios during Fashion Week in LA. They have sold their jackets to Marilyn Manson for the Marilyn Manson Dressing 2007 Tour, Tommy Lee, Dave Navarro, Black Eyed Peas, Bon Jovi’s Richie Sambora, Goo Goo Dolls, and Def Leppard. They were featured on “America’s Next Top Model.” You’d think after all this success there’d be a few inflated egos. Well, you’d be wrong. Sean, Jonny, Collin, and Ward are probably the most down to earth designers I have ever had the pleasure to interview. They’re just four “regular guys” who ride skateboards, play punk rock music, and oh yeah, make clothes, too.

Customized and painted by the Afroman Design Team (back at the compound), these couture garments are characterized by a variety of existing elements, ultimatelytransforming the garments into rare vintage rock n’ roll wearable art.

I met you guys a couple of years ago. It was the first time I heard about you guys. How did Elmer Ave come about?

Afroman was a skateboard company that started making apparel. As they were creating clothes to wear on stage, it evolved and became a high-end fashion line called Elmer Ave.

Did any of you attend fashion school?

We all separately attended the school of hard knocks, never attending fashion school.

It’s such a niche of a design. It reminds me of what rockers would wear. But it’s really defined. How did you come up with this particular style?

I think the whole Elmer Ave style was created out of our own lifestyle. A lot of the stuff we made from day one to now was stuff we just couldn’t find. For example, how do we come up with five striped jackets for five dudes? How do you make that happen with no money? You just kind of make it on your own. All of us coming from skateboarding, graffiti art, and creative backgrounds, and just being interested in clothes in general—having a hard time finding exactly what we felt like we were looking for—that really brought about a whole look, and it continues to. It’s very genuine. We all play music and it started on stage. That’s how it maintains the edge that it does. It’s really an extension of what we do every day.

Tell me about your music.

All of us at one time or another played in a band called Numchuck, which is straight ahead old school punk rock. We did that for a long time. It was a lot of fun and currently a band called Royal Heist [with only two Elmer Ave members involved]. It’s also straight ahead rock music.

You guys are gigging now? Where can people find you? And do you have a CDout?

Visit www.myspace.com/royalheist. You can find us around LA, playing Hollywood.We have a CD out, the Compound Collective CD, which is put on by Elmer Ave and is a combination of people that have worn Elmer Ave or those who have lived at the compound (the place where we all live and work). We do this whole collective thing in music, fashion, and art. We always collaborate with the music. We don’t try to push it in your face—it’s just what we do. It just so happens that people like it.

What are the price points?

We have a custom line that we generally reserve for our private clients: Def Leppard, Tommy Lee, Marilyn Manson. We do one-of-a-kind custom that’s reworked vintage. We gear that toward our private clients. We do a production line that obviously is for boutiques and retail accounts. Elmer Ave retails for about $500 and our custom line is around $200 more, depending on what it is.

Would you call it couture?

Here’s the problem (everybody laughs), the problem with us as opposed to Fashion Week, words like couture, Smashbox, fashion school . . . we don’t fit inside the typical fashion industry box at all. We started a totally different way from music and skateboarding. We started doing it on our own without any knowledge of knowing what we were getting ourselves into. We started doing our own fashion shows, bootlegging it with different kinds of styles and dramatics within theshow that people had never seen before. It’s not that we were trying to go against anything. It’s just that we were doing it our way. And it didn’t necessarily fit the categories that people often want us to be fitting into. The stuff is exclusive and it’s not cheap. So I guess it is couture.

There are very few men’s lines that have actually shown at Smashbox during Fashion Week.

Smashbox was a big deal for us. Men’s fashion has gained a lot of speed. Men’s lines have always continued to grow. We want to be the ones who are known for that.

I think the industry does need more designers that design for men’s lines. And especially the ones like yours. It’s very niche-specific. I have a rock producer for a husband, and I know for a fact if he saw your line, he would like everything in it.

We make clothes that we want to wear.

I think that’s how you will continue to keep moving ahead, because you’re doing what you like. You guys are obviously on the trend.

Well, we’re not trying to be trend-setters. We’re just doing our thing. If we’re driving the trend, then cool. On one hand, we might be setting the trend and it can be really cool and romantic and flattering as far as press and media—only a certain kind of person is going to wear it – rock n’ roll or somebody who has an edgier opinion of fashion. A lot of people are going to look at it and say, “That may be a cool art piece, but I’m not going to buy it and wear it.”

What fabrics do you use?

Mostly wool. Our whole line is basically a suit and the components thereof. We also dovelvet and leather in the custom line. There are some cotton blends. The shirts are permatex, which is a mixture of spandex, polyester, and cotton.

Were there any struggles in putting this line together?

(Everybody is laughing hysterically.) No, it’s been easy. We’re being sarcastic. Elmer Ave is not easy. It’s a struggle. But we keep doing it because we believe in it and we enjoy it, not because it’s a cash cow.

What were your biggest hurdles when producing your line?

Money is the biggest hurdle. We’ve always been a self-funded company. The whole thing about fashion is money. If you want to be what’s big, you go for what’s trendy and mainstream, not for what’s setting the trend. But we don’t have a choice because none of us are about that. So we do what we do.

Highest High

There are three big standout moments: (1) being accepted to do a show at Smashbox; (2) the first fashion show ever that we produced at the compound. It was amazing to be able to pull off a fashion show; and (3) the first time we got back our first cut and sew sample of aproduction jacket. We were able to look at it and [know that it was] completely from scratch [and it was] something we made. We’d been doing one-of-a-kind stuff, reconstruction and deconstruction. Just having something that came from our heads that actually became material was fulfilling.

Lowest Low

The last six months. Ask anybody that owns a business. We’re the four people that own this business and the economy is really bad. There has been a trickle down effect from the housing market to oil prices all the way down to four idiots that make clothes. This is a difficult time. I’d say we’re probably at one of our hardest times. We’re really blessed. We’re a group of retards that make really cool sh_t! We have so much to be thankful for. People have been really nice to us and people seem to like what we do. Even though we’re not thriving right now—and who really is at the moment—we’re going to grow. We all want to be rolling and living large and feeling good. But that’s really not what we’re doing this for. We’re four friends, and we are really enjoying what we’re doing. The highs and the lows change every five minutes.

What advice would you give to someone who’s trying to start their own clothing line?

Don’t do it the way we have. Work at 7-11. You have to decide from the start if it’s a dream of yours and you are going to see it all the way through. Or if it’s, “I’m going to give it a shot and if it doesn’t work, bow out of it.” We’ve had a few options to bow out, but we believe in our product and want to keep doing it. One day you can be at Smashbox and everybody’s patting you on the back, and the next day they want to turn your power off. Decide if the dream’s worth following.

Any last words?

Be looking out for the upcoming seasons of Elmer Ave for Men’s Rock n’ roll awesomeness! Visit us at www.Elmerave.com.

Interviewed by Kaylene Peoples