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(04/14/05 5:13am)
Waking up at noon and going to eat French toast, smoked salmon, Eggs Benedict and a fruit breakfast while sipping champagne and Bloody Marys was once an exotic frill. But with the rising popularity of the Sunday Brunch, restaurants in Bloomington are making those indulgences more a part of local custom. \n"There is nothing better than sitting on the patio when the weather's nice and having a mimosa," said Irish Lion bartender and server Jeremy Forcier. \nThe Irish Lion, 212 W Kirkwood Ave., where Forcier works began its Sunday brunches about two years ago, and many other area restaurants are catching on as well. The Story Inn in Nashville, Ind., Michael's Uptown Cafe, 102 E. Kirkwood Ave., and Scholars Inn Gourmet Cafe & Wine Bar, 717 N College Ave., are just a few of the restaurants also offering specialty foods, champagne and Bloody Marys on Sunday mornings.\nStill, though many Bloomington restaurants have only recently added the Champagne Brunch to extend menus and give their growing customer base options, the Sunday Brunch has been around for a long time. \n"The idea of drinking champagne on Sundays is very French but the big breakfast is not," said Matt O'Neill, chef at the Runcible Spoon. "They would have champagne at breakfast and have a brioche or a croissant, but the English would have a big breakfast, and that is where eating a big breakfast comes from. \nAnd though the pieces of the champagne brunch's origins come from Europe, O'Neill said brunch itself is a very American phenomenon.\n"Brunch is a combination of breakfast and lunch," O'Neill said. "They are built around getting up late and eating breakfast on Sunday mornings." \nThe Runcible Spoon, 412 E 6th Street, has a tradition and reputation of serving breakfast locally for more than 30 years. Despite the strong customer base, O'Neill said the champagne brunch buffet at the Runcible Spoon was added out of necessity.\n"The buffet has been introduced in the last month," O'Neill said. "Our business had tripled in the last three years, and it was a way to handle our business and give our customers an option." \nThe Irish Lion's brunch menu also capitalizes on providing options. Forcier said their brunch gives the restaurant a chance to offer items that aren't normally served, allowing patrons to order the mimosa for two, which is a half bottle of champagne mixed with orange juice. \n"It's just another day where they can switch it up a bit and order something different," Forcier said. "We make the Eggs Benedict with a special twist: We put spinach on ours and it has a good flavor." \nThe Irish Lion also has a special offering called the Donegal Egg and Cheese that is a quiche-like dish with spinach, tomatoes, sauteed peppers and onions all covered with melted cheese. Most of the restaurants that offer the champagne brunch have taken the opportunity to put a creative spin on more traditional brunch foods of French toast, bacon and eggs. \nAt Michael's Uptown Cafe, the offerings include French toast with a grown-up flare. The Creme Brulée French Toast is made up of slices of baguette baked on a layer of custard spiced with Grand Marnier and vanilla. Michael's Uptown Cafe also offers variations of the champagne cocktail such as the Poinsettia, which includes cranberry juice, and the Bellini, which features peach nectar. \n"I think it's a good occasion for people to drink champagne," said manager Jared Cartmell. \nThe Scholars Inn offers Eggs Benedict with prosciutto, bacon, sausage, salmon and spinach. Crepes are available with caramel, chocolate, berries or bananas. There are also 11 different variations of the champagne cocktail served at the Scholars Inn, which are offered at half price for the buzzing Sunday crowd.\n"Our most popular champagne cocktail is the Kir Royale," said Scholars Inn server Robyn Reeves.\nThe Kir Royale is a champagne cocktail made with creme de cassis. Returning freshman Inathe McCrea, who identifies the Kir Royale as her favorite drink, said Sunday brunch at the Scholars Inn appeals to her because of the atmosphere. The restaurant has balcony dining and an à la carte menu bearing a plethora of colorful dishes.\n"(Champagne) is a nice addition to a meal," McCrea said. "It makes the day more relaxing."\nJudy Drew, the manager of the Tudor Room in the Indiana Memorial Union, agrees, but the dry campus policy keeps her from serving champagne at brunches in the Union. \n"We would love to serve champagne," Drew said. "We are trying to be respectful of the University's policy."\nThough Drew feels her menu, which includes prime rib, shrimp, homemade waffles, Cherry Jubilee and Bananas Foster, is good enough without champagne, she feels the sparkly stuff would be a great addition. \n"I think it would a special touch on occasions like Mothers's Day and Easter," Drew said, "but only limited to those holidays." \nOnly about 10 percent of the Tudor Room customers are students, and even IU President Adam Herbert comes in to brunch on Sundays, Drew said.\n"A lot of faculty members bring their families in on Sunday," she said. "Usually the Little 500 winning team will come in for brunch." \nChampagne brunches are a ritual of spring, popular because of holidays like Mothers' Day, Easter and graduations, O'Neill said. \n"Sunlight is a big part of brunch," O'Neill said. "Brunch comes along in the spring; it is a ceremony to be able to catch up and relate to other people."\nO'Neill said brunch is something people look forward to because it's about socializing and creating an atmosphere.\n"Sunday is the last space in time that hasn't been invaded by work or study," he said. "Sunday morning still has that hold on people of a lifestyle that used to be."\n-- Contact Asst. Arts Editor Patrice Worthy at pworthy@indiana.edu.
(04/07/05 5:26am)
Prestigious fashion magazine Women's Wear Daily is currently conducting its annual college survey to find out what colleges are the most fashionable. This year WWD will focus on Big Ten colleges, unlike last year's Ivy League college issue. The magazine focused on the Big Ten colleges because of their diversity, said David Yassky, the fashion market editor at WWD, who conducted the survey at IU.\n"We focused on the Ivy Leagues last year, but we wanted to mix it up," Yassky said. "There is the East Coast and the West and then there is everything in between. We wanted to get a feel for the heartland and fashion in the Midwest."\nYassky, who stayed in Bloomington for two days, said the fashion at IU was very homogenous but youthful. He said he was also impressed with IU's fashion design students.\n"They were very pop-culture savvy and opinionated," he said. "When I asked them who their favorite designers were they didn't just say your typical run-of-the-mill designers. They had no qualms about answering questions." \nYassky walked around campus spotting fashion trends and stylish students, and he made a point to sit outside of Ballantine Hall waiting for students to switch classes.\n"We want to know if the stereotypes about the Midwest are true," Yassky said. "It's all-American, and there are big athletic rivalries, and we wanted to know if that influenced fashion."\nYassky asked students about IU's style and how the University fashion compared to other Big Ten schools. During interviews, Yassky asked if the popularity of sports and the rivalry with Purdue had an effect.\nIU freshman Melissa Burnett was interviewed by Yassky. Burnett, dressed in metallic slippers, cuffed jeans and a short-sleeve army-green collared shirt, said she does not think IU is a fashionable campus and people have trouble with personal style.\n"I wouldn't call myself a fashionista," Burnett said. "But I would think I don't blend in with everyone." \nYassky thought Burnett's look was adorable and his photographer took several pictures of her. \nAfter Yassky walked down Kirkwood Avenue and visited Urban Outfitters, Cactus Flower and Metro Wear, he said he was very impressed with Cactus Flower and it's selection of vintage clothes.\n"In New York all this would be picked over so fast," He said.\nOn Wednesday he talked with seniors and winners of the 2004-2005 Bill Blass award, Geoffrey Coyle and Carol Coelho, about their thoughts of campus fashion. Coyle is a costume construction technology student, while Coelho recently presented her final project for an Individualized Major Program in fashion design.\n"He asked us about the latest fashion trends, where we get our fashion inspiration, designers that inspire us and if they felt like they were at a disadvantage because Indiana doesn't have fashion resources." Coyle said. \nYassky said WWD wanted to know about the shopping habits of people in the Midwest, because it is so limited. \n"We wanted to know where the kids shop and if the Internet shopping is as big as we thought," he said. "We are doing it for the buyers as well so they know where they shop." \nAmong other questions, Coyle said Yassky asked about the fashionable crowd being a minority on campus. \n"I feel like a minority because I stick out when I walk across (campus)," Coyle said. "I talked about how I was the only male in my class and the only black person in my class." \nCoyle also described fashion on campus as casual during the day but different at night. \n"I feel like a lot of people here wear the yoga pants, T-shirts and flip flops; they look like they just rolled out of bed," Coyle said. "They accessorize with Christian Dior glasses and Coach bags and they think that represents their status."\nYassky also visited several sorority houses and went to different bars. He asked students about the nightlife at IU and if fashion is different at night.\n"People dress up at night, but the fashions are (outdated)." Coyle said. \nSophomore Laura Steichen, who was also interviewed by Yassky, said she thinks the campus is fashionable because it's a party school.\n"You have to look good when you go out," she said.\nThough IU might be fashionable in its own right, no one will know which Big Ten university will receive the most fashionable title until early May.\n-- Contact Asst. Arts \nEditor Patrice Worthy at pworthy@indiana.edu.
(04/07/05 5:24am)
In an age when women are equal to men and men are embracing their femininity, stereotypes about dressing well still persist. Though both men and women were glued to the television to watch the final episodes of "Project Runway," men still battle stereotypes when people learn they are closet shopaholics. \nMy ex-neighbor Johnny is one such man -- fully equipped with more clothes than me and proud of it. He believes that what a man wears can have a major impact on his romantic liaisons as well his success off the field.\n"I think if a guy has game it starts with his wardrobe," Johnny said. "His wardrobe will show it." \nI don't know if all men feel this way, but one thing I have noticed is when a man is dressed to the nines, his attitude can often be worse than that of a catty, pretentious woman. I have believed that male models are 10 times worse than female models. \n"I think men who are focused, goal oriented and aspire to have a certain level of success dress well," Johnny said. "Whether it's the natural choice or if it is a choice forced on you by American culture or the media you ultimately have to be conscience of what you are wearing and what you look like." \nSo, if is this is true -- and I will admit Johnny isn't too far off the mark -- why do so many men think fashion isn't important? Many of the men I have asked said some do and won't admit it because of negative stereotypes surrounding men perceived as fashionable. So of course this is where relationships come in. I am not saying men date women strictly for the fashion advice, but every man has at least one woman they go to for advice on what to wear. Sam, a friend of Johnny's, said fashion is a marker in any relationship. \n"When girls and guys start dating, one of the biggest things in their relationship progression is that women need to change the guy's fashion," Sam said. "It's an interesting sort of power play; inevitably she likes him for who he is, then picks him up and then wants to change his fashion somehow. I think it's a desire to seem permanent or a part of his life that isn't going to change."\nWith that said I realized why so many men resist when a woman suggests a new shirt or new shoes. Fashion is such a powerful force! Not only does it signify class, but it also signifies where your relationship is going, and so does a lack of fashion.\n"Men care about clothes because women care about clothes," Johnny said. "It starts with clothes because it is the easiest thing to upgrade."\nIf fashion is that powerful of a force, more men should embrace it. Why aren't there more men at student fashion shows or more men in the fashion design program? Some of the best designers are men that have built empires making clothes for both men and women. Ralph Lauren started out making men's ties, and Miuccia Prada is praised for her menswear. \nI remember the last time I fell in love, what really got me open was that we had the same taste in clothes. We would look on the Web and through magazines at loafers, button downs and watches of classic preppy style. If Jay-Z, Oscar de La Hoya and Snoop Dog can embrace fashion then I think it's about time for men to follow suit. For guys who need help try GQ, Men's Journal, or my favorite, the New York Times Style magazine's men's fashion spring 2005 for pointers. You can even ask a guy who has great style. I know men want to look good -- who doesn't? There is power in looking good, a mystique that is unbelievable sexy -- like Pierce Brosnan in "The Thomas Crown Affair." \n"Men want to be an icon; they want to bring out something about them it is unique and individual, no one wants to be forgettable," Sam said. "Fashion can bring out these things about you that are permanent." \nSo when you are tucked away in your closet reading this column with a flash light and you find yourself wearing those stove pipe jeans with a members-only jacket, Cole Haan shoes and a Prada shirt and someone asks why, take after Snoop Dogg and say, "Cause it's pimpin'"
(03/31/05 5:00am)
How many more "Meet the Parents" clones are there going to be this spring? We have seen "Meet the Fockers," "Guess Who" and now Jennifer Lopez's new movie "Monster-in-Law." I am sure the success of "Meet the Parents" is responsible for this sad onslaught of films about crazy in-laws, but in all honesty, who cares? June is the month for marriage, but summer is the season for fun, unadulterated sex and very bad behavior. Let's face it, we need a better pick of movies. We need movies that appeal to the wild side of all of us -- something visually stimulating and completely malicious. No more boy meets parents, parents drive boy crazy and then parents love him. No more over saturation of bad horror movies such as "The Ring Two," "White Noise" and "Boogeyman." These movies that were ripped from Japanese originals needed to remain in Japan and not remade into train wrecks disguised as American horror. \nLately the movie selection has been a myriad of "Cinderella" movies, bad horror and "meet the parents" flicks with endings just as cheesy as the movie concept itself. What's missing are movies that appeal to the grown and sexy audience. I am very partial to movies like "Closer," full of adultery, but with a production so refined you begin to question your own morals, because of the fluid visuals and convincing performances. \nSteven Soderbergh is the king of stylish, Hollywood flair. Who can forget "Out of Sight," "Ocean's Eleven," "Solaris" and "Traffic." These movies are compelling and they draw in the viewer because they are visually sleek. Style enhances the viewing experience and gives the movie that much more of an impact. \nAs bad as some say it is, I could sit and watch "The Italian Job" and get lost in the beautiful scenery of Italy and Philadelphia, Pa. The movie goes from one luscious scene to the next; the Italian Alps to Mos Def's description of a collection of first edition leather-bound books. \n"Vanilla Sky" is another movie that captured the audience. The sleek car Cameron Diaz drove, the scene in Central Park all the way to the apartment that Tom Cruise inhabited. Each piece of the film was carefully charted to give a feel of believable modernity. Though David Aames (Cruise's character) goes completely insane in the film, most would not mind having his wardrobe. It is no wonder why it is considered to be a modern classic in the company of such films like "Ocean's Eleven" and "Out of Sight." \nIs it surprising that a movie like "Cruel Intentions" does well at the box office and continues to stain the mind with its wealthy, drug-abusing teens decked out sleek designer clothes and driving vintage roadsters while living in mansions? Movies that blend dark comedy with a glistening set can't help but do well. Look at "Very Bad Things," now a classic for the engaged man. No one can forget the scene in the hotel bathroom with the dead hooker; the line "we were playing" never ceases to amuse me. \nOh, how there is a need for more quality dark comedies. Though "The Ladykillers" was a dark comedy, funny in its own right and it almost sucked. Let's get real. Tom Hanks in a dark comedy is officially a no-no. I am a fan of Coen brothers movies like "Fargo" and "The Big Lebowski" because they crack me up. I long for movies such as "Wild Things," "Heathers," "Clay Pigeons" and "U-Turn," which have great casts that make death, drunkenness and empty sex look really good. A movie like "Bad Santa," where the drunk thief of a Santa actually finds a place in your heart blended with the sleekness of a Soderbergh production is what theaters need right now. \nI would like to see a darker, refined production of "Meet the Parents" set in Los Angeles where the boy meets the girl's parents and they push him to the point of murder. Or maybe a comedic version of "The Ring" where the girl is still alive, living in the barn drinking tea and telling funny jokes. Then, when you think everything is OK, she makes the horses go crazy killing the sluts on the high school equestrian team. I guess that is just my imagination getting the best of me, but I can see it. With all the crap out there on the silver screen, I need a movie that stimulates me rather than just entertains or causes drowsiness. I want something that makes me question my morals, laughing hilariously at blood and guts all over the screen. Like many others, I often sit back and laugh at what it would be like to run over my archenemy in a 1967 Jaguar while wearing Fendi along the coast of Madagascar.
(03/31/05 5:00am)
When Kevin Rodney Sullivan, the director of "Guess Who," took on the task of remaking a 1963 classic about love conquering racism, he set out to move mountains. The original "Guess Who's Coming to Dinner," starring Sidney Poitier opposite Katharine Houghton as his white love interest, brought humor to a serious social concern. The remake takes a look at love and interracial relationships in the 21st century by casting Ashton Kutcher as Simon and Zoe Saldana as Theresa, his fiancée. \nCarefully directed, the film takes a look at the faults of both blacks and whites when dealing with racism. One scene where Simonsits down at the dinner table with Theresa's father, Percy (Bernie Mac), spurs a list of names he didn't call him, such as cracker, peckerwood, paleface, etc. Simon later tells black jokes and everyone is laughing until one joke is too offensive to laugh at. After dinner Percy questions how Simon came up with so many jokes, and he in turn feels the pressure of trying to impress an all-black family. \nThough the movie is a comedy, they leave most of the jokes to the father-in-law/son-in-law bonding reminiscent of "Father of the Bride" and "Son in Law." This bonding erases many of the color lines, leaving the focus on meeting the in-laws and gaining their trust -- something everyone can relate to. Sex is carefully left out of the script and replaced with Simon calling Theresa "baby" throughout the entire film along with kisses and scenes of Theresa looking safe is Simon's arms. \nUnafraid, Sullivan didn't stop there, and hung the more poignant scenes in the movie on racial issues. Theresa asking for her father's approval because the outside world is disdainful of her relationship and Simon's reasoning for quitting his successful job serve as testaments that as far as race is concerned there are still barriers to overcome. Of course, like any mainstream movie, there is an inevitable Hollywood ending making the middle of the movie seem like filler for a comedic love story disguised as a remake of a movie that tackled the very serious issues of love and racism.
(03/30/05 5:12am)
How many more "Meet the Parents" clones are there going to be this spring? We have seen "Meet the Fockers," "Guess Who" and now Jennifer Lopez's new movie "Monster-in-Law." I am sure the success of "Meet the Parents" is responsible for this sad onslaught of films about crazy in-laws, but in all honesty, who cares? June is the month for marriage, but summer is the season for fun, unadulterated sex and very bad behavior. Let's face it, we need a better pick of movies. We need movies that appeal to the wild side of all of us -- something visually stimulating and completely malicious. No more boy meets parents, parents drive boy crazy and then parents love him. No more over saturation of bad horror movies such as "The Ring Two," "White Noise" and "Boogeyman." These movies that were ripped from Japanese originals needed to remain in Japan and not remade into train wrecks disguised as American horror. \nLately the movie selection has been a myriad of "Cinderella" movies, bad horror and "meet the parents" flicks with endings just as cheesy as the movie concept itself. What's missing are movies that appeal to the grown and sexy audience. I am very partial to movies like "Closer," full of adultery, but with a production so refined you begin to question your own morals, because of the fluid visuals and convincing performances. \nSteven Soderbergh is the king of stylish, Hollywood flair. Who can forget "Out of Sight," "Ocean's Eleven," "Solaris" and "Traffic." These movies are compelling and they draw in the viewer because they are visually sleek. Style enhances the viewing experience and gives the movie that much more of an impact. \nAs bad as some say it is, I could sit and watch "The Italian Job" and get lost in the beautiful scenery of Italy and Philadelphia, Pa. The movie goes from one luscious scene to the next; the Italian Alps to Mos Def's description of a collection of first edition leather-bound books. \n"Vanilla Sky" is another movie that captured the audience. The sleek car Cameron Diaz drove, the scene in Central Park all the way to the apartment that Tom Cruise inhabited. Each piece of the film was carefully charted to give a feel of believable modernity. Though David Aames (Cruise's character) goes completely insane in the film, most would not mind having his wardrobe. It is no wonder why it is considered to be a modern classic in the company of such films like "Ocean's Eleven" and "Out of Sight." \nIs it surprising that a movie like "Cruel Intentions" does well at the box office and continues to stain the mind with its wealthy, drug-abusing teens decked out sleek designer clothes and driving vintage roadsters while living in mansions? Movies that blend dark comedy with a glistening set can't help but do well. Look at "Very Bad Things," now a classic for the engaged man. No one can forget the scene in the hotel bathroom with the dead hooker; the line "we were playing" never ceases to amuse me. \nOh, how there is a need for more quality dark comedies. Though "The Ladykillers" was a dark comedy, funny in its own right and it almost sucked. Let's get real. Tom Hanks in a dark comedy is officially a no-no. I am a fan of Coen brothers movies like "Fargo" and "The Big Lebowski" because they crack me up. I long for movies such as "Wild Things," "Heathers," "Clay Pigeons" and "U-Turn," which have great casts that make death, drunkenness and empty sex look really good. A movie like "Bad Santa," where the drunk thief of a Santa actually finds a place in your heart blended with the sleekness of a Soderbergh production is what theaters need right now. \nI would like to see a darker, refined production of "Meet the Parents" set in Los Angeles where the boy meets the girl's parents and they push him to the point of murder. Or maybe a comedic version of "The Ring" where the girl is still alive, living in the barn drinking tea and telling funny jokes. Then, when you think everything is OK, she makes the horses go crazy killing the sluts on the high school equestrian team. I guess that is just my imagination getting the best of me, but I can see it. With all the crap out there on the silver screen, I need a movie that stimulates me rather than just entertains or causes drowsiness. I want something that makes me question my morals, laughing hilariously at blood and guts all over the screen. Like many others, I often sit back and laugh at what it would be like to run over my archenemy in a 1967 Jaguar while wearing Fendi along the coast of Madagascar.
(03/30/05 5:08am)
When Kevin Rodney Sullivan, the director of "Guess Who," took on the task of remaking a 1963 classic about love conquering racism, he set out to move mountains. The original "Guess Who's Coming to Dinner," starring Sidney Poitier opposite Katharine Houghton as his white love interest, brought humor to a serious social concern. The remake takes a look at love and interracial relationships in the 21st century by casting Ashton Kutcher as Simon and Zoe Saldana as Theresa, his fiancée. \nCarefully directed, the film takes a look at the faults of both blacks and whites when dealing with racism. One scene where Simonsits down at the dinner table with Theresa's father, Percy (Bernie Mac), spurs a list of names he didn't call him, such as cracker, peckerwood, paleface, etc. Simon later tells black jokes and everyone is laughing until one joke is too offensive to laugh at. After dinner Percy questions how Simon came up with so many jokes, and he in turn feels the pressure of trying to impress an all-black family. \nThough the movie is a comedy, they leave most of the jokes to the father-in-law/son-in-law bonding reminiscent of "Father of the Bride" and "Son in Law." This bonding erases many of the color lines, leaving the focus on meeting the in-laws and gaining their trust -- something everyone can relate to. Sex is carefully left out of the script and replaced with Simon calling Theresa "baby" throughout the entire film along with kisses and scenes of Theresa looking safe is Simon's arms. \nUnafraid, Sullivan didn't stop there, and hung the more poignant scenes in the movie on racial issues. Theresa asking for her father's approval because the outside world is disdainful of her relationship and Simon's reasoning for quitting his successful job serve as testaments that as far as race is concerned there are still barriers to overcome. Of course, like any mainstream movie, there is an inevitable Hollywood ending making the middle of the movie seem like filler for a comedic love story disguised as a remake of a movie that tackled the very serious issues of love and racism.
(03/30/05 4:29am)
Typical of Nathaniel Hawthorne's style, the novel "The Scarlet Letter," like his play "Young Goodman Brown," examines a place where religion is infused into the consciousness of society. Starring in the play is Renee Racan as Hester Prynne and Eric Van Tielen as Arthur Dimmesdale, two people in love from afar and the parents of an illegitimate child, Pearl.\nThe entire play is narrated by the complicated yet dynamic Pearl, played by Melanie Derleth. The lonely and indignant child expresses her unhappiness by tormenting her mother, which makes Pearl seem like more of a punishment from God than a love child. \n"My nightmares began and ended with the letter 'A,'" Pearl said to the audience. \nPearl plays in a graveyard, a permanent part of the set that symbolizes the spiritual death of Hester, Pearl and Arthur upon Pearl's birth. \nHester's character quickly unfolds in the beginning of the play as she sits in a prison cell taunting the guard about the preciousness of the scarlet letter, an 'A' for adultery embroidered with expensive gold thread. Although it is a symbol of her undying love for Arthur and her pride in Pearl, the letter is also a curse. Hester is ostracized from society because she will not reveal the identity of Pearl's father, a well-respected minister, and she is forced to stand on a scaffold all day. Ironically, the scaffold used as punishment is the only place where the truth is revealed, freeing the characters of their spiritual imprisonment. \nBecause of Hester's pride, the townspeople tease and threaten Pearl. Hester's nightmare only gets worse when her ex-husband, assumed to be dead, comes to town as a doctor. The pressure is too much to bear and leads to a tragic ending. \nThe play, using the Phyllis Nagy adaptation of Hawthorne's "The Scarlet Letter" and directed by Jonathan Michaelsen, does a wonderful job of distinguishing spirituality from religion. Although Roger Chillingworth, Hester's ex-husband, is an evil character, Scot Purkeypile, the actor portraying him, impressively illustrates the unhappiness and self-sacrificial tendencies of Arthur and Hester. He makes Arthur's and Hester's actions look silly and unnecessary as he mocks Arthur as a leader of the community, and he encourages the often incorrigible behavior of Pearl. \n"Full of regret and bitterness -- such leadership potential," Chillingworth said about Pearl.\nAlthough the cast comprises only seven actors, Nagy plays on words, using imagery to compensate for the lack of extras. For instance, when Chillingworth tries to blackmail Hester, his words represent the opinions of other townspeople that would have been standing around him. \n"You're famous Hester -- all New England will know your name." Chillingworth said as his hand glided through the air, alluding to people all around. \nIntense and compelling, the subject matter easily could test an audience's patience given the play's setting 300 years ago in a world without glamour. But with the scenery by Fred M. Duer and the work of lightning and sound designer Greg Benchley, the play came alive. The use of light in the play intensified its dramatic scenes, like when Arthur, Pearl and Hester are on top of the scaffold at the end of the first half. Light also enhances the power and judgement of Gov. Bellingham, played by Mike Mauloof. The most impressive use of light is during the first scene when light and shadow are used to create the bars of a jail cell. The combination of light and the use of the trap door transports the audience to a time 300 years ago and doesn't bring them back until the bitter end.
(03/24/05 5:12am)
What to wear when playing a French suite in G major by Bach; a sonata opus 10, No. 3 by Beethoven; "Daphnis et Chloe" by Ravel; or "Bolero"? This is the question many music school students are wrestling with as they prepare for their juries and senior recitals this month. IU is known for being one of the top music schools in the country, rivaling conservatories like Julliard, Oberlin and Eastman, so the pressure to dress for the occasion is high. \nMusic, which is derived from the word "muse" meaning "to inspire," brings an entirely different element to attire. Do you wear a flowing gown with painted music notes like the dress worn at the spring 2005 Donald Deal show? Or if you are singing a robust piece by Wagner, do you wear something with sparkling beads and sequins in an intense lavender like the dresses at the Lloyd Klein spring 2005 show? \nMichelle Sweeny, a music school senior, is preparing for her upcoming piano recital, and the question still goes unanswered. \n"For voice majors, their body is their instrument, so it matters what they are wearing," Sweeny said. "As a pianist, I don't want to draw too much attention to myself. You don't want to take attention away from the music." \nAs we looked through Sweeny's closet, she pulled out a striking knee-length, pink-and-purple-blocked Shantung silk dress. I immediately said she should wear it, but Sweeny had reservations. I assumed when you are performing a recital you would wear something you might wear to church or a fancy lunch, but I was soon corrected. Sweeny told me most people wear something like a bridesmaid dress, prom dress or fancy gown. \nI began to think to myself, "Let the music and inspiration decide." Everyone's recital is different, but what you wear is a personal decision. Michelle, being a pianist, would want to wear something "nice, dignified, but not too distracting," but a voice major would want to wear something that draws attention to her. Christopher Farrar, the IDS fashion photographer and a former concert pianist, said dressing for performances is much easier for men because all they have to wear is a black tuxedo. I guess they could spice it up with a paisley cummerbund or one in purple, blue or red, but ultimately the tough decisions are left to the women of the music school. \nI always imagined female violinists in something calypso red, long and gathered, and a flutist wearing something off the shoulders in a soft pink or yellow with layers of tulle or organza gently sweeping the floor. Depending on the piece, music can inspire vulnerability like Madame Butterfly, romance like Puccini or raw, intense emotion like the composers of the Italian renaissance, \nAccording to Susannah Cahn's "Top Ten Trends for Prom '05" article, dresses for the spring imitate birds and peacocks. \n"Elaborate embroidery, actual feathers and 'eye'-like patterns created with paillettes or sequins pay homage to the dramatic tail of the peacock. Also look for dresses with ostrich feathers or marabout trim -- bold fashion statements that are sure to cause a stir," she wrote.\nThis look is great for a voice major, but piano majors or harp players would wear something a little more subdued. Try a long skirt in spring colors or pastels paired with embroidered mules and a corset-like top and scarf. \nJewelry should stay at a minimum. Pearls or little diamonds add just enough sparkle and pizazz so the audience can focus on the beautiful music that might inspire someone to give you a job.
(03/23/05 4:43am)
The Bloomington Area Arts Council, in conjunction with the Indiana Arts Commission, is launching a regional cultural planning program for Monroe, Brown, Owen, Greene and Lawrence Counties. The project, which began with an online survey that ended March 20, will help boost culture and arts in the five-county area. Sally Gaskill, the executive director of the BAAC, said the organization is happy with the number of responses it received.\n"Statewide we received 2,500 responses. Our consultants, who live in Massachusetts and Washington, D.C., respectively, told us they never managed a statewide arts survey with so much participation," Gaskill said. "We are very impressed." \nDiana Corrigan, the development and marketing director of the BAAC, said the survey was the best way for the public to participate in the project. \n"The survey asked questions like, 'How many art events have you participated in the past few months?' 'What kind of arts events would you like to have that you don't have access to?'" Corrigan said. "I think Bloomington in specific has so many arts and cultural opportunities, but outside counties definitely need a boost in arts and culture." \nCorrigan said the BAAC's definition of the arts is very broad. The arts spans a vast area, and the BAAC has included many facets into the planning. \n"We define both arts and culture fairly broadly -- performing arts, dance, theater, visual arts from painting and sculpture and in between," Corrigan said. "Also the literal arts, culture museums, natural history museums, children's museums and organizations." \nThe BAAC will take the survey results and use them at a focus groups in April in Monroe County.\n"That focus group meeting is one of nine region-wide. We will take what we have learned on the surveys and tailor questions to the people in the focus group," Gaskill said. "Everyone is invited."\nAccording to the BAAC Web site, the organization's goals are to develop, strengthen and promote artists and arts organizations in the five-county area; serve as a catalyst for economic and community development through the arts; raise the visibility and increase public awareness of Bloomington's cultural resources; develop access to the arts for all young people; and serve as the community's major source for life-long learning in the arts. \nCorrigan said the focus groups, combined with the surveys, will give the BAAC a sense of the Indiana arts community.\n"We want to get the sense of what people feel the role of local government should be in supporting arts and culture," Corrigan said. "We want to see what kind of partnership local artists and organizations feel we should have with the local government." \nThe cultural planning survey is not new to Indiana nor to the BAAC. Because the organization is a partner of the Indiana Arts Commission, it is required to conduct the survey every five years. Corrigan said cultural planning has been occurring in the arts world for several decades. Usually an arts council will bring people together to plan. Corrigan said the BAAC first did the cultural planning five years ago, and it now will be a regular part of its agenda. \n"It's also part of our strategic plan that we do this every five years. As we work with the Indiana Arts Commission, they require all the regional service providers to do this every five years," Corrigan said. "What's great about it is the entire state is doing at the same time we are." \nAll 12 of the BAAC's sister organizations are conducting cultural planning for their areas, which include 92 counties.\n"Once we look at the survey, then we take a look at the big picture," Corrigan said. "Then we will analyze results and come up with a plan." \nCorrigan said it is always good to go back to constituents and ask what the BAAC can do to bring the community what they want. \n"It's an ongoing process that any organization needs to do whether you are an arts organization or not," Corrigan said. "We look at our goals and try to align them with the cultural goals of the state because that's what makes most sense." \nBoth Corrigan and Gaskill said they do not know what the result of the focus groups will be, but they are looking forward to the responses. \n"That's the exciting thing about planning -- we are really in the first phase," Gaskill said. "We hope we are better equipped to deliver services that people want and need, especially artists and arts organizations." \n-- Contact Asst. Arts Editor Patrice Worthy at pworthy@indiana.edu.
(03/21/05 4:35am)
Can honesty co-exist with the wealth in upper-middle-class French society? When Molière, French playwright, actor and stage manager, wrote his most famous comedy of manners, "The Misanthrope," he posed that very question. Much like "The Importance of Being Earnest" by Oscar Wilde and "The Rivals," by Richard Brinsley Sheridan, the play takes a humorous look into the hypocrisy of the social elite. "The Misanthrope," a critique of French society and a commedia dell' arte, exploited the duplicity of the French elite through the quixotic behavior of Alceste, a man disgusted with the hypocrisy that surrounds him. \nThroughout the play Alceste, a gentlemen of leisure, considers himself to be an honest man and criticizes his peers. He makes a point to be honest whenever he can, even if it means being downright rude, which inevitably leads to his demise. Alceste's downward spiral begins when his rival Oronte reads him a poem and Alceste takes every opportunity to tell him he should not be writing. \n"You have your reasons; permit me to have mine for thinking that you can not write a line." \nThough Alceste stands on a soapbox of honesty, the irony is that his love interest Célimène is one of the most dishonest characters in the play. Alceste rationalizes Célimène's behavior by saying love is blind, making him the biggest hypocrite of them all. \nMolière uses Alceste as a foil character to reflect the hypocrisy of French society in the 17th century and uses Alceste's best friend Philante to reflect the egotism, jealousy and erratic behavior of Alceste. The entire play examines the hieroglyphic world of manners and questions if honesty is the best policy. In a world where intrigue and calculation takes the place of love and even the most moral characters accept it as natural, it begs itself to be adapted into a modern interpretation. "The Misanthrope," like the original screen play "Valmont," could easily be filmed in a present-day setting in New York or Connecticut with college-aged kids, similar to the movie "Cruel Intentions."\nWritten in 1666, the play is relevant today on a college campus because it also examines women and the facades they build in order to be accepted. Arsinoe, in love with Alceste, claims to be a pious woman but lusts after Alceste while condemning the flirtations of her opponent Célimène. One can easily see Célimène as the female player decked out in Michael Kors and driving a sporty BMW and Arinsoe dressed in simple but sexy Banana Republic driving a Mercedes-Benz. In Act 3, the two women get into a catfight and it is revealed that neither of their reputations is squeaky clean. Arsinoe is viewed as a lustful hypocrite while Célimène is looked at as loose for playing with the hearts of Alceste and Oronte. Who Célimène truly loves is never revealed, but the deliberate deceit of both characters is an obvious critique of 17th century women and women in general by Molière. \nThe humour in the play is that all of the characters are looking for love, but is true love not based on honesty? Molière examines love and who deserves it in the end of the play, leaving the reader to wonder if deceit pays off or if honesty conquers all.
(03/10/05 4:36am)
Spring break is literally tomorrow, and everyone is worried about what they are going to wear. Most people don't have to worry so much because they will be on the beach relaxing in '70s-cut bikinis in patterns of yellow, green and orange. Though the simplicity of beachwear makes the day-to-day very easy, there are other things to think about, such as romance, for instance. I have talked to numerous people, and their top priority is finding romance -- or in layman's terms, "to get laid."\nWhile a bikini will do just fine if you want a one-night stand, I like to leave an imprint or create a scene that invokes excitement every time my love interest thinks about me. I am a big fan of anything romantic this semester, and when one of my co-workers adopted my style and said "I feel sexy," I knew I was onto something. \n"They are New Bohemians: Jet set artists in search of inspiration -- and pleasure. Passionate, hedonistic. Racing across the ocean to capture a lifestyle that is at once foreign and familiar, casual and luxurious," reports the Pantone Color Report Spring 2005.\nIf you are looking for a spring-fling dress in something visually stimulating that also captures the imagination, I would invest in two or three lace camisoles in colors of pink, lavender and blue. \n"... Aurora and Flame, Begonia pink and sweet lavender, heralding yet another glorious carefree day," said the Pantone Color Report Spring 2005. \nLook around for different styles such as an empire style top or something that ties on the side because you also can pair that with bikini bottoms. You can take it one step further and buy lingerie from Victoria's Secret and wear it as a shirt. I do this quite often, and I always get compliments. Though a negligee is sexy enough, try buying one with colorful print, lace and flower patterns or a montage of bright colors. When it comes to love, think peacock. \nAfter you find the perfect camisole, do not pair it with anything denim. Remember: We are thinking tryst, so everything has to be easy to take off. Pair the camisole with a short white, beige or black linen skirt or drawstring pants. Keep in mind that linen is always better when it's blended with silk or cotton because it cuts down on the wrinkle effect. \nIf you are determined to wear denim, soften it up with a silk printed scarf in your hair or a floppy hat and a bikini top. The look is city chic and lends itself to a walk in Central Park. If you are going to be in the city, look to the new Amerie video "1 Thing" for help. Amerie has made short white crepe shorts paired with a glittery top a must for city spring breakers.\nOf course, if the fling lasts longer than one day, you have to wear something different for the next encounter. So, a dress, -- easy access -- is always wise. I am buying a coral spaghetti strap dress with a full skirt from Anthropologie. It is great because you can wear it casually or dress it up. Of course, there are other variations on dresses, like buying a colorful or all-black sarong and wearing it as a dress or as a skirt. You can pair it with a flip-flops and a bikini top or a shirt that covers the front and ties in the back. The look is also great with chandelier earrings and ornate bracelets on the wrist and ankle. It's perfect because when your guy comes up to you wearing linen trousers, a crisp button-down yellow shirt, loafers without socks and a straw Havana hat lowered over his eyes, he will be able to see you as well as hear you. \nSpeaking of men, keep those colorful swim trunks on the beach. When going out, a simple black button-down shirt will do, and so will loafers. Flips-flops are good, but loafers add sophistication to any outfit. A plain red, green or blue T-shirt is also good paired with linen trousers. If you are going to Florida, male shorts are always in, along with white khakis and pink shirts, bling-bling watches and flip-flops. \nSpring break is about relaxation, so bothering with your hair is a no-no. Try to wear it as natural as possible. Most women don't realize they actually look really good when their hair is half-done. Don't forget the cocoa butter for your skin and lemon for streaking your hair because when the clothes come off, all you have is your skin and hair.
(03/02/05 5:45am)
Responding to the sound of the drum was the theme of the third annual Africana Festival Saturday at the Neal-Marshall Black Culture Center. The festival began when guests attended a drum workshop where they were invited to play drums with Austin Okigbo, president of the African Student Association. \n"As an African, even if you are in the diaspora, you always respond to the drum," Okigbo said. "Once you start talking about African music, you think about drumming." \nLearning about African culture was a priority at this year's Africana Festival. Children were taken into a lounge where they learned how to play Oware, an African game. The game was displayed on an Ayo board, and the children had to get as many seeds into it as possible. Children also made Adinkra stamps, which are symbols from Ghana stamped into a cloth and sewn together to make clothing. They also made Samba school flags and "oops" baskets; although the baskets traditionally comprise woven grass, leaf fibers and pine needles, children at the festival made them by wrapping yarn around plastic containers. \nIU President Adam Herbert attended the festival and said he felt it is indicative of the diversity on campus. \n"One of the strengths of the University is its diversity," Herbert said. "It is a great opportunity for people of the University to experience a significant culture."\nAfter the drumming, people participating in the workshops attended a panel discussion about cultural perspectives and leadership. The panel included two students, senior Eboni Gatlin and former IU basketball player and current graduate student A.J. Moye, who discussed the needs of the black community. \n"Every organization needs a sound principle, and that principle should be education," Moye said. "If you haven't learned, how can you teach?" \nPanel members said leaving one's comfort zone to make changes is important.\n"Have an idea and put it into action," said Liz Mitchell, a member of the Bloomington Black Business Association. "When they have the chamber of commerce meeting, go and meet people." \nThe festival's Soul Food dinner at Alumni Hall gave guests the opportunity to do just that. Guests ate fish, fried chicken, cabbage, macaroni and cheese, mashed potatoes and various pies. As they ate, guests got to know each other as they awaited performances by the African American Dance Company, International Vocal Ensemble and a Gumboot dance group. Each performance pulled from traditions of the African diaspora. The International Vocal Ensemble sung African songs that reflected the history of Africa and were accompanied by African instruments. \n"The lessons behind the music remind us of our past," said Samuel Atindanbila, a doctoral student in clinical psychology. "It is therapeutic if you listen to the words." \nOne of the groups performed a dance titled "Revolutions," which expressed the dream of Dr. Martin Luther King Jr. and incorporated parts of his "I Have a Dream" speech into the music. \nAudience members clapped their hands while a group performed the Gumboot dance, an African dance that originated from gold miners' need to communicate without talking. As a result, the miners slapped their knees and stomped their feet to relay important messages. \nHost and panel moderator Dwyane Smith said the Gumboot is the grandfather of stepping, a dance performed by black fraternities and sororities across the nation. After the festivities ended, Amala Afoaku sang "Oh Freedom," a song about wanting to be free in heaven rather than a slave, and Vice President of Institutional Development and Student Affairs Charlie Nelms gave the closing remarks. \n"I challenge everyone here to make Africana not just a weekend-long festival but a year-long celebration," Nelms said. "I challenge everyone to learn more about the continent of Africa."\nThe weekend-long celebration ended as guests followed the call of the drum from Alumni Hall to the IU Auditorium to see a performance by the Soweto Gospel Choir.\n"You can take away the drum, but you can't take away the drummer," Okigbo said. \n-- Contact Asst. Arts Editor Patrice Worthy at pworthy@indiana.edu.
(02/24/05 7:22am)
A revolutionary, recovering addict and mother gave an audience at the IU Auditorium a "talkin' to" Wednesday. Everyone in attendance at the "Evolution of a Revolutionary" lecture paid close attention as Afeni Shakur, mother of late rap artist Tupac Shakur, corrected misconceptions about the Black Panther Party and pleaded with the younger generation to reset their priorities.\n"I am asking young people to form a conspiracy against fear," she said as she read a passage from a letter she received from former South African President Nelson Mandela. "Our deepest fear is not that we are inadequate but that we are powerful beyond measure ... As we are liberated from our own fear, our presence liberates others." \nShakur spoke with actress and author Jasmine Guy about being a recovering drug addict, her past and what she feels young people need to do today to stay strong. \n"Hip hop and who can marry who is not your priority. Your priority is keeping yourselves alive," she said. "I need for you to instill courage within yourselves so you can fix the real problems in your life." \nShakur's disposition changed when a \nstudent asked her about Eminem producing Tupac's latest album amid allegations that the white rap star is racist. She warned the audience she was going to put an end to the rumors.\n"Bitch, nigga," she said as one woman got up to leave. "Get off the bullshit about these words. When you start arguing about a word you get off point. Don't be diverted by something that isn't important."\nLindsay Cannon, a senior majoring in a folklore and African American and African diaspora studies, thought Shakur was very honest.\n"I thought it was interesting. She was so honest, and that is not what you expect from people who come for lectures," she said. "It was like a teaching session."\nByron Craig, programs chair of the Black Graduate Students Association and assistant instructor in the Department of African American Studies, was not too impressed with Shakur and felt her lecture ignored issues blacks have faced for years, he said.\n"I am a little disappointed. I feel like she's promoting this liberal ideology about getting yourself together instead of looking at the system that is still racist," he said. "Especially about words, because that is how our world operates. I feel a lot of what she is saying is based on her recovery." \nShakur asked for students to take time out to enjoy life and learn from each other. She admitted struggling with humility while recovering from drug addiction.\n"I learned a lot from humility," she said. "None of us know enough to keep each other alive. We need each other."\nShakur encouraged the audience to go up to people and ask for help about things that might seem foreign to them.\n"Go up to people and ask them to teach you something," she said. "Teach each other. Teach me what you have in your culture that keeps you going. In my culture I know how to get up when I fall down."\nShakur has learned how to appreciate differences in her life and feels that it was the different people that helped her the most as she was caught up in the streets. \n"One of the things that was good about the Black Panther Party that helped me later was working with black women that had Ph.D.'s," she said. "It made me better."\nShakur now embraces differences in her relationship with Jasmine Guy, a confidante of Tupac and the author of her biography. "Jasmine Guy and I are so different, but we can still like each other and find beauty in each other," she said. \nGuy and Shakur have a long history together, meeting each other at Tupac's trial and after the first attempt on Tupac's life. \n"Tupac told me to call Jasmine and ask her if he could stay at her house," she said. "She allowed my son to get well and never told anyone he was on her couch trying to get well. We were never going to be anything but close."\nGuy, who was hesitant about writing Shakur's biography, said she is very inspired by Afeni Shakur and her evolution. \n"I find Afeni a fascinating subject," she said. "When you are experiencing a painful situation, you're close to the pain, but I saw a resilience in Afeni."\nGuy said she tried to subtly put the story into a historical context of the Black Panther Party Movement. \n"A lot of history stands alone. I wanted to give it a human face," she said. "I wanted to tell the story through her life. I don't think when we learn our history we give it a human face" \nShakur put a human face on history as she stood proud of her drug recovery and past involvement with the Black Panthers.\n"I don't think there is a movement. You can be deceived if you want to," she said. "The movement ought to be keeping young people alive and safe so we can have a future." \n-- Contact Asst. Arts Editor Patrice Worthy at pworthy@indiana.edu.
(02/24/05 5:46am)
I knew it would come one day: My little sister finally approached me about becoming a model or my PR assistant in the fashion industry. \n"Next time you go to fashion week can I go with you as a PR assistant?" she hesitantly asked.\nIf it were one of my good friends, I would probably have said yes, but it is my baby sister. The fact that she asked me made me so proud, because she is finally starting to think about her future and not just boys. But it scared me at the same time. After years of her being trained to be a model, now the time has finally come and all I want her to do is be three months old again. \nAfter she asked me, I began to think about all of the reckless things I have done since I have been working in the fashion industry. I would skip school to go work 13-hour days preparing for shows, romance powerful men and get totally wild to the point of insanity. Now, there are pictures of my debauchery behavior floating around somewhere. \nI am not saying my little sister will do all of things I did, but at the tender age of 16 she isn't too far behind me. I love her so much and I couldn't stand to see her deal with the body and weight issues runway models wrestle with. Even at 5 feet 7 inches and 126 pounds, she is already a little Latina bombshell. And that is exactly what scares me. My mother has already given up on trying to control her, and the line of the pieces-of-trash she dates is limitless. Of course, I do not think this will always be a problem. But I think you should have to be a certain age to work in the industry, and 18 is good for me. \nEvery year, the models keep getting younger and younger: Many of the women in fashion magazines are 16 and 17 years old. While at fashion week, Indiana Daily Student photographer Christopher Farrar and I were looking through Women's Wear Daily and came across a page with the profiles of the hot new models. None of the featured women were above the age of 17. Actor Harrison Ford's 16-year-old son is modeling, and there are even a couple of 13-year-olds on the runways. \nI wouldn't have a problem with this if liquor and drugs didn't flow so freely at the shows, and they don't ask your age when you get booze. If I can go out on a dance floor with my martini glass in hand and leave a show completely inebriated at 18 years old, I am sure my little sister can get away with it. \nNot only that, but I think that having 17 year olds on the runway is sending the wrong message. I don't know any 22-year-old woman who looks like she did when she was 18. Many of the models don't look like they have gone through puberty. Models should look like women not little girls scantly clad on runways for older, more experienced men to lust after. I am not saying this happens to everyone, but it happens. \nStill, I would never want to deny her the same fun, friendships and opportunities I received; I can't help but think, "lil' sister, don't you do what your big sister does"
(02/17/05 5:12am)
Dressing for an internship or interview can be very perplexing. As first you are excited, just because you have an interview or a chance for an internship and then fear comes over you. "Will I look the part or what do I wear to make a good impression?" you begin to think. \nFortunately, we are in college so dressing the part largely depends on how much money you have to spend on your "costume." Yes, I called it a costume, because for most of us that is what a suit or wearing panty-hose is equivalent to. Dressing for an interview can be a pain in the neck, or at least it is for me. I absolutely hate it. You get all dressed up in this monkey suit so someone you don't know can give you the third degree.\nOf course, for some of us it isn't all bad. To make a confident choice, I went to my favorite fashionista Chelsea Breed, a senior in interior design, supervisor at Dial America and recipient of the Most Professional Student award in 2003, for advice on dressing professionally. Breed, who is known for stunting to work in circle skirts, tailored feminine sweaters and heels, said there are certain modes of dress people should avoid. \n"I would say if you are going into a professional field you should always have a black suit," Breed said. "Black looks professional, and you can wear the pants or blazer with or pieces." \nI am fan of black suits from The Limited, because they are not that expensive and they have a long life span. But be warned before going out of the house for the interview in the black suit -- make sure the trousers and the sleeves of the jacket are the right length. Many people tend to just buy a suit and wear if off the rack, which is okay if it fits correctly. But most suits need a little tweaking from an alterations shop. \nWhen I had an internship interview at Fairchild Publications I went crazy wondering what I should wear. I was so nervous because I was featured in their publication and I was going to be interviewed by fashion editors. Ooh, the horror! In my fit of anxiety I called Meenal Mistry, fashion editor for W and Women's Wear Daily magazines, and asked her what I should wear. \n"I don't think you should worry too much about what to wear to an internship interview. I would just keep it simple and clean," Mistry wrote. "As long as you look neat and professional, you should be fine. You certainly don't have to wear a suit or anything crazy like that. A nice skirt and sweater should do the trick." \nI was relieved, until I went to the interview and many of the people there had black suits, though they looked like they were dressed up in monkey suits it was still weird. What was even more surprising is the fashionable spin others put on their outfit. When you are interviewing for a position in the fashion industry, the pressure is doubled because the goal is to look professional and fashionable. For instance, one woman wore jeans, a Channel knock-off jacket and blouse. A man wore a velvet cranberry blazer, gray dress pants and a nice shirt. \nOf course, how you dress for the interview depends on the field. Business interns should dress conservatively, while fashion and entertainment magazines have a more relaxed dress code. Though every office or company is different, Breed said there are some universal rules. \n"Skirts are one thing you have to be careful about," she said. "No matter how nice your legs are, short skirts are unprofessional. Women have a hard enough time trying to be taken seriously in the work place." \nBreed had some advice for buying skirts that are meant to be worn to work. \n"To the knee or just below the knee is appropriate and professional, plus it is flattering on most body types," she said. \nBreed also said when it comes to men, she couldn't say enough about the importance of well-manicured hands, "because you have to put you best hand forward." \nAlso, remember to never dress above your boss and keep jewelry at a minimum. If you have to do a lot of standing, wear comfortable shoes; lace camisoles worn with a blazer is now acceptable at work.\nNow let's hope after the styling, we all get the job.
(02/10/05 6:02pm)
The shows went on as Olympus Fashion Week continued in New York City. Designers' lines began to show similarity as Tracy Reese, Cynthia Steffe and Tamsen showed their fall 2005 lines. Velvet, embroidery and coat dresses dominated the Steffe and Reese runways, welcoming rich luxury for the cooler season. The erogenous zone for the fall will be the back as designers such as Reese, Kara Suan and Kimora Lee Simmons among others showed shirts and dresses with openings and deep v-necks in the back. Accessories were a significant part of all three shows as models on the Steffe runway wore necklaces with ribbon and fur tied around them, and Tamsen models wore big wooden beaded necklaces that resembled African jewelry. Though accessories caught the eye of many on the runway, it was the ornate detail of embroidery on Steffe's and Reese's clothing that blew away celebrities such as Mya and Nina Sky. \nTamsen\nThe Tamsen duo added a bit of mystery to the fall 2005 runway show coming in as unknowns to the New York fashion world. Designers Sue Firestone and Mimi Wolfe showed their first collection aboard their family yacht and decided to create a line out of chiffon tops and silk sarongs. The runway was covered in dried flower petals with a colorful backdrop. The organic patterns were translated from the artwork of R.W. Firestone into a collection that embodied New York's edginess with tight black satin genie pants, oversized blouses, black charmeuse bubble skirts and black charmeuse crop pants. Looks included a brown landscape dress with suede lace-up front, a black T-back dress with blue waterfall back swag and colorful printed sheer tunics that gathered and tied at the waist. One of the most memorable pieces was a turtleneck with a back swag and waist tie that revealed the small of the back. The show included many pieces that can move from day to evening, and the watercolor-like patterns helped express a feminine look with a serious edge. It was a show that stuck out at Fashion Week, signaling the unique flavor of the Tamsen duo. \nTracy Reese\nThe Tracy Reese show was nothing short of spectacular as she stuck with her traditional routine of feminine glamour with an elegant air. Reese included embroidered coat dresses with full skirts in her collection, along with dresses with dropped waists. Many of the pieces were sheer and resembled lingerie, but instead of lace Reese used beading and ruching as decorative elements. The show was ultra-feminine with flouncy knee-length skirts and dresses. The looks presented included a flouncy brown floral tea dress, a pink flower corsage beaded dropped shoulder dress with a dropped waist, a camel coat with a fur collar and sleeves over a nectar gold film embroidered frock. \nR&B Duo Nina Sky, clad in Reese's designs, were among the guests.\n"We really liked the stuff, we will definitely be wearing it again," said Nicole of Nina Sky. "I also liked the dresses especially the beaded ones. They were really nice." \nOther looks included a lavender poiret posy dropped-waist frock with a low v-neck back and a lilac velvet coat over a poiret posy tea dress with gathered detail on the collar, a black velvet ruched cami dress and a cherry deco tiered slip. \n"I was inspired by the '20s and '30s and the old Victorian era, actually all my favorite eras," Reese said. "I took inspiration from the past and thought, 'How do I make it right for now?'" \nMany in the industry call Reese the premier black designer, and with a company worth more than $20 million, who can deny it? Vogue Editor-at-Large Andre Leon Talley had nothing but good things to say about Reese backstage after the show. \n"She makes it youthful, wearable and saleable; it is her best collection yet," Talley said.\nReese is swiftly climbing the high fashion ladder and will soon cater the consumer with elegant taste on a smaller budget with her second line, titled Plenty. \n"The second line is a little more casual; it is our other baby," Reese said. "It's less expensive and funky. It is a little more downtown." \nCynthia Steffe\nSteffe also had a very feminine show, but with a theme of royalty and warmth. Models marched down the runway in velvet coat dresses in deep shades of garnet and blue. The blue velvet circle skirts with gold embroidery, a garnet crushed-velvet trench coat over a porcelain blue poet blouse and bordeaux doll dress with a fur trim collar were all inspired by Russia. Most of the dresses were adorned with gold embroidered waistbands. \n"I loved it," said singer-songwriter Mya. "It was young with a bit of royalty. I liked the rich reds and dark blues. I loved the black military jacket." \nThe show was heavily influenced by the Russian empire and included a black Vladimir coat, a mink-collared pink champagne duchess coat with brown buttons and a Prussian blue-velvet Anastasia jacket over a gold-embroidered Donegal skirt.\n-- Contact Asst. Arts Editor Patrice Worthy at pworthy@indiana.edu.
(02/09/05 5:06am)
As Olympus Fashion Week kicked off, designers limited fur to sleeves and collars, while focusing on hats, gloves and jewelry as the main accessories for the fall and winter 2005 collections. \nThis season, accessories will become the driving force behind creations by Baby Phat, "Project Runway" and Kenneth Cole. Clothing brought few surprises, as designers showed collections that will keep consumers warm while providing style in the cold winter months. Cole began the week with social concern, while "Project Runway" left guests talking about contestant Kara Suan and which contender would walk away with enough money to start a new line.
(02/09/05 5:00am)
Since the Olympus camera company has taken over fashion, more and more fashion photographers pile into the tents every season. Most of the time the entrances to the tents are blocked by photographers with their big Cannon D1s screaming "look here, one more picture." Now, they have people taking photos of random guests so they can be put on the famous Olympus wall. The fashion photographer has become a force to be reckoned with, as opposed to the lowly photographer that got thrown bread crumbs. \nChristopher Farrar, the Indiana Daily Student photographer who accompanied me to fashion week, will be the first one to say fashion photographers get treated much better than fashion writers. They get to go into any show they want, make a living shooting beautiful people and -- like infamous photographer Steve Sands -- can make even $1 million off one photo. Though the photographers tend to be the happiest group of people at the shows, don't piss them off. \nThis year Farrar and I decided to bring along Jodie Love, a new photographer at the IDS. When we walked into the Kenneth Cole show, I had to show her the ropes, because Farrar was getting his credentials. I told her to find a place where she could see the end of the runway and stick to it. I went on to say the other photographers will try to bully her, but she should just stick to her place. She began to laugh as if I wasn't serious, but after the show she came up to me full of anger. \n"Do you know what some photographer said to me?" she asked. "He came up behind me and asked me if I got anything good with my point and shoot." \nShe was amazed at the audacity of a man 30 years her senior to say such a mean thing.\nThe photo drama continued when famed photographer Steve Sands could not get into the Baby Phat show and then commenced to get into a physical altercation with the bouncers.\n"Don't push me because you don't know what's going on," he screamed. "Do you know who I am?" \nHe then went across the street and called the fire department, and when a fire truck showed up everyone knew what had happened. Evidently, that is his M.O. when he doesn't get into an event. This was the second of Sands' altercations for the week, and although many question why he behaved in such a way, I understood. Even Andre Leon Talley, "godfather of new york fashion," was not allowed into the show. They deserved to be angry.\nI asked my friend Astrid Stawiarz, who is a fashion photographer for Getty Images, and she said that although it is a pretty good deal, it can be rough. \n"You work long hours, and you have to sacrifice a lot," Starwairz said. "Most people don't want their picture taken. It's fun, but you sacrifice your personal life." \nI thought to myself, maybe that's why so many of them are so rude. Fashion photographers are the first ones to comment on a famous person's butt getting wider, and when Ashley Olsen arrived at the Baby Phat show without Mary Kate they joked about the crackhead not coming. \nBe warned -- the cocky attitude of the fashion photographer is alive and ready to come out at any time. Most of them are better at picking out fashionistas than the actual fashion editors. They live by the camera and they die by the camera.
(02/01/05 4:40am)
Bloomington's week of chocolate began Sunday night with creations that catered to chocolate lovers' greatest desires. Truffles, tortes and mousse were just some of the desserts offered at "The Art of Chocolate," an affair coordinated by the IU Art Museum and benefitting Options for Better Living. The event brought together 12 chefs from Bloomington and Indianapolis to display their chocolate creations while generating funding for a community organization. \n"At Chocolate Fest, the desserts get chopped up into little pieces, and we wanted to give the chefs a different way to showcase their creations," said Veronica Amarant, development director of Options. "It created a place for people to gather and help out a good cause while enjoying chocolate." \nSenior Leeaht Gross volunteered for the event because it was based around chocolate. She said she enjoyed the desserts. \n"They're very, very rich." Gross said. "The desserts were displayed so nicely, which is my favorite part." Tickets for the event were $35, and all proceeds went to Options, an organization dedicated to providing services for people with disabilities. \n"The Art of Chocolate" was the first event of its kind. Bob Macgee, an Options board member, said it went beautifully. The event featured wines from Oliver Winery to accompany the desserts and included Muscat Alexander, a new fruity white wine not yet offered in stores. \nMusic from The Andy Cobine Trio added to the softly lit ambiance as guests enjoyed delicious chocolate creations such as raspberry truffles, bitter sweet chocolate panna cotta with hazelnut caramel, velvet chocolate, chocolate ganache torte, chocolate fondue with fresh fruit, Madagascar chocolate mousse and more.\n"I've never had desserts as impressive as these," said Bob Cutter, a museum docent. "It was good to see what's available locally." \nOne artful creation was the Madagascar chocolate mousse prepared by Matt Smith, executive chef at Truffles Restaurant at 1131 S. College Mall Rd. The mousse was presented in a chocolate cup with brandied cherries on the bottom. Smith said he chose it for a specific reason. \n"I think it's one of the more impressive things in my repertoire," Smith said. "I was honored to be invited. It's for a good cause, and a lot of my colleagues are participating." \nCutter said he was excited the tasting took place in the IU Art Museum and people were able to take advantage of the space. \nOptions, the organization that benefited from the proceeds, provides housing and job services for people with disabilities, MacGee said. \n"Nine out of every 10 of our dollars goes to services for people with disabilities," Macgee said. "Customers live on their own. We call them 'customers' because you always have an obligation to your customers." \nThe organization provided 200 tickets for purchase, and by the end of the night, they were sold out. As the night went on, patrons bid on gift packages offered by Options. \n"As far as we can tell, it's all profit to help our cause. It's a wonderful benefit for us." Macgee said. "We are able to make a lot of friends in the community." \n-- Contact Asst. Arts Editor Patrice Worthy at pworthy@indiana.edu.
