Lightfolly Featured in News from Nowhere!

I had the honor to be featured in News from Nowhere this week, a local publication from Laramie to the Wyoming community. It is a biweekly magazine which includes local art and poetry. See the feature here, or read the piece I wrote below.

I am not an authority in womanhood. Except for the fact that I am one. Raised in a macho society within a mainly patriarchal world, I grew up safe and cozy, being taught how to be proper and perfect. How to please others, not myself, because I was supposed to feel pleased by simply fulfilling what was expected of me. I didn’t quite follow suit: I cut my hair short in high school and refused to have a boyfriend or pursue the career that my mother wanted me to pursue. I moved abroad by myself, for graduate school, at an age where half of my childhood friends were mothers. I felt like quite the rebel. I never wanted to be in a position of power; power over myself was enough.

This is how it starts. This is how one grows hollow and purposeless. A woman’s gift is to nurture: a child, a career, a relationship, a dream; whatever endeavor she embarks on. And every day we are put down for owning up to that gift, even when it is what’s expected of us. It took me many years of “rebellion” to understand this, and to develop a visceral rejection for how mundane the idea that nurturing is a weakness has become. Women get in the game and come out on top by losing themselves and being more like men. We mean to strive for equality, but we found ourselves fighting for sameness.

I photograph women. Not because I don’t like men, but because I want to be a part of a river of voices that is awakening the gender that has gone quiet. I invite women into my studio and remind them of the nurturing role they can choose to fulfill. We wear so many hats, and it is when we are nurturers that we wear them best. But we seldom give ourselves permission to just be women, to just nurture without an agenda, naturally and shamelessly. To nurture ourselves. To be present and let our fears, our conquers, our struggles sip through and bloom on the surface. If it ever happens, it goes undocumented. We are too busy, too fat, too skinny, too old, too tired, too grumpy, too preoccupied with being perfect… too quiet to keep a record. And so, we exist mostly behind the camera. Photographing our children, our colleagues, our world. And if we are ever in a photo, we have an uncanny ability to find miniscule, insignificant details of ourselves that we hate and that justify not keeping the snapshot. Delete, delete, delete… So no images of ourselves are left to treasure, like the ones of our grandmothers, in her pearls, which we may be fortunate to find in a shoebox in the attic.

This land of nowhere welcomed me with open arms when I moved here three years ago. It has been forgiving and enriching, and like the mother I left behind it has nurtured me and given me the strength to move out and into and ahead. Its community of business women, mothers, artists, politicians, has empowered me to rediscover my own womanhood, to embrace it, and to want to empower others to do the same. I want every woman I know to give themselves the gift of existing in photos. For themselves and for future generations. I want them to drop the conventions, what’s expected of them, the excuses, the mask they wear every day, and to allow themselves to be nurtured by other women and photographed in a glorious session celebrating their womanhood.

Thanks Wiley Combs for featuring us, and for supporting local art.

Our Mini Head Shots Marathon is here!

A portrait session with us is an opportunity to reconnect with oneself and have beautiful printed images to treasure. However, sometimes, "all we need is a head shot".

I hear that quoted phrase regularly, and to me it's an indication of a disconnect between what some people think they need and what they want. If all you need is a head shot, you can hand your phone to the next person you run into on the way to work. Just request that they cut the image to include the top of the shoulders (I know, it's called a "head" shot but a floating head, on its own, can make for a pretty creepy image). However, most people, when they say that, mean they need a professional image of themselves to improve their visual presence as part of their brand, or in the search for a job. And that's were a traditional head shot falls short. Because if your visual presence doesn't represent you in a manner that's appealing, showing your confidence, enhancing your good features, you will not rise above the competition when it comes to landing a job or getting an inquiry.

How does the Mini Head Shots Marathon work?

You sign up for a 2-hours slot with us on the day of the marathon. A week before, you come to a consultation soiree where your questions on styling and products are answered. The day of the marathon you come to my studio, where a professional teem will pamper you and treat you to hair styling and makeup artistry. You get an hour with me to be photographed. You go have lunch with a friend. You receive a gallery of images from which to choose two complimentary ones. You receive access to your images of choice to download digital copies to keep and reproduce. You purchase any extra images you may like, either as digital copies or prints. You go be a girlboss and rock your sales and offers.


Is this for heads shots only? Can I turn it into a glamour mini?

You will get to bring 3 outfits. One of them must be a professional outfit. The other two can be whatever you want! Bring a sequin dress, a sexy corset, a beaded blouse... the possibilities are endless!* And remember, professional doesn't mean a suit. It can, but suit jackets actually don't photograph that well. Book your spot and we'll talk more about these details at the soiree.


When is the next Marathon?

Our next marathon will be Saturday, May 21st. We'll have available slots at 9am, 10am, 11am, 1pm and 2pm. This slots will fill in a first come, first served basis.


How much for all this awesomeness?

The mini sessions, including the soiree consultation, the hair and makeup, two digital copies and $100 in credit towards a future purchase is valued at just $247 + tax. I know, right?


Where do I sign up?

Go here and send me a message with your desired slot. I'll pencil you in and call you back to confirm your spot. You can also call me at 307-703-8118. Do you have more questions? Send me an email here or call me on the above number.


What if I cannot make it that day? Will you have other dates added?

The marathons are a one-time quarterly event Lightfolly Portraits will be offering to those clients that can wait for it. The next one will happen in November, so if you are not in a hurry you can wait for that one. Sign up for a newsletter by going here and clicking on the banner at the top of the page. You'll get announcements, promotions, and beautiful imagery once a month. Our newsletter subscribers got to know about the marathon 3 days in advance, which gave them priority in choosing the best time of day for them. You can also book a Personal Branding session and get an exclusive head shot experience on the date of your choice.

Come and have fun with us on May 21st!

*Intimate Portraits, which are our boudoir-inspired sessions, are not an option at this time. Each slot is for one client only

Namaste: the artist in me bows to the scientist in me

When it got time to choose a "career", I declared I was going to study chemistry. My mom rolled her eyes. She knew that I was going to be a writer (in Spanish, of course, a language I master and have a handle of better than a hair brush), and she filed it as another one of my teenage phases. My best pal and cousin, three years older than me, who I idolized and imitated, was half way through her college chemistry degree, and mother knew best that it was just a matter of months, if not weeks, before I came to my senses. But I had an alter motive.

The first reason why I wanted to study chemistry, besides following in the steps of my bestie, was that language seemed so obvious to me. I knew all the grammatical rules, had read enough books to have a more than rich vocabulary, and loved to write for the fun of it. Studying it as a career seemed no challenge at all; I knew I was going to be content, and that is never enough for me as a motivation. I also envisioned that studying literature as a profession was going to take all the fun out of writing. And to top it all, I was going to end up mostly teaching, instead of writing, to a generation that obviously did not appreciate language the way I did (something I couldn't fully envision then, but which has become obvious now, when kids think "your" and "you're" are interchangeable...)

The second reason was more obvious to me and less clear to my folks. I knew I wanted to move abroad; I had had a taste of it visiting Vancouver towards the end of high school for six weeks, and I knew literature wasn't going to get me there. Chemistry, on the other hand, is universal. To breach both worlds, and ease my mother's mind when classes started and I did not register in the humanities, I pursue both chemistry and English translation.

Chemistry has served me well. It has taken me to where I am today in life. It was, undoubtedly, a challenge, but I conquered it to the extent I needed to and when, after having two children, I decided it was time to go back to work, it made sense that the artist in me would knock on my inner door and demand to be heard. My photography work serves itself, effortlessly and quietly, from that muse that has been shyly waiting to be heard for two decades.

When I photograph clients, I follow certain guidelines that I learned from the pros. I know how to make a body look stunning, an outfit look flattering, a smile say it all. When I am not constrained by those guidelines, I create. I write with images, which are more universal than words, and love those images more than anything I have ever created (my children aside). Those images don't sell to the kind of client I'm pursuing, or translate clearly in the empowering process women are craving, but they fill my soul and inform everything I do. I am an artist and a scientist, and the ways in which each of those fields have shaped my brain, my view and understanding of the world, and my senses, is complementary and enriching. The people that I have encountered in one and the other disciplines have been as diverse as enriching, and they are the reason my life is as colorful as it is. I can expose in manual and detect NO −
3 to the ppb level in water using IR technology. Not too shabby for a short, brown, foreign woman, don't you think?

 

 

 

Interview with Rachelle Rose, from Rachelle Rose Designs

You can throw a white tunic on every morning. You can wear a t-shirt and jeans confidently, beautifully, for any occasion. But there is something in the way we present ourselves to the world that has the power to slump us into depression or raise us up into confidence. Even when the world may be your living room one morning.

Rachelle Rose is a fashion designer living in Laramie, WY. She is a graduate of New York City’s Fashion Institute of Technology (FIT) with a Bachelor of Fine Arts in Fashion Design.  She also studied in Florence, Italy at Polimoda. Through this program she traveled to Paris for PREMIÈRE VISION - the biggest fabric/fashion market in the world, to Milan for Milan Fashion Week, and toured The Gucci factory in Florence. Rachelle has worked in the clothing industry her entire life, with years of retail experience stemming from her family business, TJ Formal. She now spends her days designing and sewing collections under her clothing label, Rachelle Rose Designs. When she isn’t sewing she is spending time with her boyfriend, Danial & their dogs on outdoor adventures.

                                                                                                                                                                                                      


How does a fashion designer gets to Laramie, of all places? Start from the beginning...

I grew up in Joplin, Missouri, a city of roughly 50,000 people. My mom owned a formal-wear store which she recently sold. She started with tuxedos, and when I was in junior high she brought in dresses. Because of her I knew how to sew a little, from a very young age, and when she started selling dresses I began going with her "to market" to buy garments for the store. I met a lot of designers who were selling and talking about their designs, and that is how I got interested in fashion, and particularly design. Eventually I started working for a company named Scala, modeling or helping with sales at market, and I work closely with one designer who recommended that I went to FIT (Fashion Institute of Technology) in New York city. She said it was "the best school to go to for design". So I made it my goal to go there.

I was in high school and I started researching what schools where out there for design, and I applied to three, but but when I got accepted to FIT there was no question. After two years I got my Associate Degree and at first I thought I thought I was just going to do that. Then I wasn't ready to leave, there were so many good things to learn... So I did an exchange program in Florence, Italy, for 9 months. It was one of the most difficult years of my life, not only because I was dealing with the culture shock but also because I didn't have a very good roommate, so it was very lonely. As a learning experience though, it was priceless: I got to travel a lot, taking day trips all over Europe, and although the workload was tough (it was in a school called Polimoda, which is the sister school of FIT) I got a lot out of it. I got to go to a fabric factory and saw the processes they use, which was less industrialized there: they have machines that knit but workers help the machines, it is not all automatized. Experiences like that, which I wasn't going to be able to have in NY, made it all worth it.

I graduated in 2006 with a Bachelor in Fine Arts. 4 years. I was considering going to LA, I wanted a change. I decided to go back home for a year to save money to move, so I went back to work for my mom. We traveled to LA and even looked at apartments there, but once being there it didn't feel right. I wanted to be by the beach, and so I moved to South Caroline, where my brother had just bought a house. My mom's business was doing really well and most of her sales were online, so I kept working for her remotely doing orders, updating the website, and I would travel to Atlanta or other places she would go to, to buy for the store. I started doing some design work on the side: I was part of a couple of fashion shows, I designed custom pieces for friends, I made accessories... I was doing a lot of work reconstructing vintage pieces at the time. In 2011 I decided I needed a big change. I sold everything I owned and traveled across the country alone. This was the first time I had ever been  to Wyoming. I am very close with my ex-step mom, Kerry. She was living and working in Wamsutter at the time. We traveled around and went to Yellowstone. I was very inspired by the western landscape and couldn't wait to incorporate it into my designs. My mom was opening a store back in Charleston, so I went back and managed it for 2 years. It eventually closed and I moved to Laramie in February of 2015.

How did you come to the decision to move here?

I was moving to Portland, Oregon, and visiting friends and family on the way. Carry and her partner Ray were living in Encampment, Wyoming. I had known him for 4 years at the time; this was just before thanksgiving 2014. His children came for Thanksgiving dinner, and that's when I met Dan. We started to know each other and we all ended up coming back to Missouri for Christmas to see my family and Carry's family. By the time we returned from the trip, I decided I would not be moving to Portland after all; I would stay here and we would figure out how to make it work. He really encouraged me to pursue my business, which I am very thankful for. I am so happy with how everything is turning; things have worked out, not how I had planned, but even better!


It sounds like your path to fashion designer was pretty smooth. How hard was it to get into FIT?

I still don't know how I got in. It's a very hard school to get into but I had a well rounded background and that helped me, I guess. But the whole precess of application was insane. I was recently talking to a friend who is going to apply. I had to write essays about why I wanted to be a designer, and high school activities and grades helped, but there was a very specific portfolio they were looking for. And I had been told that if you don't follow the directions precisely, if you fail to follow even one minor detail while applying, they don't even review your application. So it was a very diligent process. I had to draw, sew things, take photos of them and of pieces that I had already made in the past... I didn't know how to draw at that time. I could doodle but I had no idea of how to draw a fashion figure by any means! So I taught myself, and looking back that process was really funny to watch. So I figure out how to draw and submitted my designs and could not believe it when I got my congratulations envelope. That was an exciting time.

Was it daunting moving to New York?

I was ready; it was exactly what I wanted to do. It was either that or LA in my mind. And I was ready since I was 15. My mom was terrified; my older sister went to Kansas for college and that wasn't very far so it wasn't that big of a deal. My mom never cries but she cried when I left; that's how I knew she was definitelly terrified. I can totally understand: I was 18, I had no experience in the city, I didn't know anyone. I lived in the dorms so I didn't have to start everything on my own and I didn't feel all alone. It was a semi-normal college experience.


Tell me more about Rachelle the designer. Do you design for women only? What is your style? How did you evolve into it?

For now, I design for women. Eventually it would be fun to do menswear, but right now I am focusing on getting better at womenwear and perfecting some of my skills. I learn something every time I create a new design. My designs are ready-to-wear or sportswear (that term is kind of dying). It's every day clothing. I have done eveningwear when I first started but I really like the idea of women wearing my clothes every day and being confident, comfortable, and happy in them often instead of wearing something one time and putting back in the closet. But this place I've arrived to in my designs was hard to visualize. I had been involved into eveningwear all my life so it was easy to think that that is what I wanted to do, and hard to visualize myself outside of that. I wanted to do more ready-to-wear eventually but I never had customers who needed that at the time. And I had a lot of outlets for formalwear, including designing exclusive pieces for my mom's business. However, I knew I didn't want to do that forever. That industry changes so much, it has changed so much in the last 10 years, and it will get even stranger because people doesn't dress up as they used to, specially here in Wyoming. I really had to think about: "what are people going to wear and be warm and comfortable and functional in, but still look more stylish than if they were just going hiking?". I'm trying to find that middle ground between fashion and function. It is so relevant even for me, as a woman and not just as a designer, here, every day. I am trying to focus on that, and there is where getting feedback from people really helps.

Creating a look is not always a linear process. Inspiration comes from many different things, and the fabric always guides me quite a bit. At this stage I try to decide what I will be making before I go to the fabric store. I'm getting a little more organized. I listen to people and use myself as a guide: "What am I pulling out of my closest 2, 3 times a week? What am I gravitating towards? What's functional?". I also observe what people wear out and about, and I elaborate on it, make it better or more fun but still easy to wear. It's a lot of observing, listening, asking myself questions about my experience ("could I wear this all day?")...


Guide me through the process of creating a collection, from the moment you think about it until you sell a garment to a person

It's not an exact science, but usually I start by thinking of a collection as anywhere from 6 to 12 looks. Then I break it down and ask myself: "how many dresses do I want to have?" Or jackets, or skirts... I think about the pieces that I want to make. If I already have something in my head, I sketch it. The whole time I am thinking about how things are going to go together. Then I redo it 3 or 4 times (laughter). Sometimes, some of the pieces will stem from fabric I already have or know I want to get. For example, for this spring collection I found some fabric on my last visit to the fabric store and I got it, before I had any design ideas. I also had some fabric in the studio that I wasn't sure how I would use but I wanted to incorporate. If I am doing a smaller collection for a specific event (for example, for the Spring I am starting with a 5 looks collection that I'll present at the runway show (more information at the end)), I am breaking that down into some fun pieces, because it is a runway show, and others that I want to bring to The Curiosity Shoppe to sell afterwards. Then I think: "how many people are going to wear this cape? Not that many". So I'll make 1 or 2. "But this shirt is pretty versatile." So I'll make 1 to 7 or more, because it will appeal to more body types. I usually think about the color story too, and then I translate that into different designs, seeing what lends itself to what piece, but still keeping it cohesive. And I have to pay attention to some details that will only appear here and there: I have to think about how some people don't like to show their shoulders and not make all exposed shoulders looks. I may do them once or twice and do a different shoulder style that a wider range can wear for the rest of my looks. Right now I am trying to incorporate all this considerations on the runway collection.


How do you decide what and how much of a given collection you'll bring, let's say, to The Curiosity Shoppe to sell?

I see what people is gravitating towards. The capes are an example, I instinctively just went for it: I made a lot of them, I found fabrics that worked, and I knew that if they didn't sell in town I could always sell them online or somewhere else because they are easy to fit and can accommodate a wider audience. But I ended up selling all of them. So now I am learning from past experiences of what local people want. I am also always thinking about versatile pieces that can be used as "carry overs" (a piece that can be translated or re-done for the next season).


What are your thoughts about clothes being an avenue to uplift a person's spirits?

A part of me has that old mentality of my grandmother dressing up for the night,. And as a little kid, I always dressed up for church, mom didn't allow us wear pants, to church, and I liked that. I enjoy dressing up for the most part (unless I'm dealing with 2 feet of snow!). It has never bothered me. I know it does other people; some of my mom's former employees would complain about having to dress up for work. I found that irritating; I thought "if you are in a professional environment, specially if you are selling wedding gowns, dress accordingly. Dress professionally". I know I wouldn't want somebody selling me a $2000 wedding gown in sweat pants or jeans. To me, that' is the kind of professional respect that you show somebody who is going to spend a lot of money with you. You are playing a part. I always felt more confident in what I was selling when I dressed up. I could sell better when I felt better. Yet, another part of me looks back at what I used to wear when I was in retail, heels and restricting garments, and I don't want a part in it anymore. That dressing style has nothing to do with my current reality, and I wouldn't want to go back to living a life that calls for that. So I guess my view is "whatever you are doing, you should dress for that lifestyle". If you are selling wedding gowns you should dress up. If you are a lawyer, you should wear a suit. It is part of a mentality, and you are giving a message with your choice of outfit: people will take you seriously when you are dressed for the part. If you are a sky instructor, wear snow pants. I advocate, first and foremost, to dress for your lifestyle. And whatever you are doing dress for it appropriately: if you go to an event that calls for dressing up, dress up, even if you don't normally. Keep your jeans in the closet, and once you are back home get back into your sweatpants.


Are you advocating for using others as a measure of how to dress? If you go to a restaurant in town, probably most people will be wearing jeans and a parka... is that how you dress to go out?

In a way. Most of the time I dress according to where I am going. Sometimes I want to wear something a little over the top for a particular scansion because it makes it fun, but for the most part I think of where I'm going (and the weather!) and I dress accordingly. That said, I prefer to be a bit overdressed than underdressed, but I don't want to feel uncomfortable or restricted and not be able to walk a couple of blocks in what I am wearing because I will be cold, or hot, or.... I want to be appropriately dressed. It is not always easy to figure out exactly what that means, but I hope my designs give people more options within what's appropriate for a given venue/occasion.


A custom designer who won the Oscar for best costume in Mad Max in the latest Academy Awards wore a leather jacket and non-salon hair to receive her award, and there were both critical opinions and supporting ones. She addressed being comfortable and how her outfit was "dressing up" as far as she was concerned. Do you have any thoughts on this?

Lots of designers have a uniform. Vera Wang, for example, dresses very simply. She probably owns hundreds of black leggins and plain tops. That's all she wears because that's what she's comfortable in. She designs over the top garments but it is not a fashion show for her, she is dressing other people. I get lost in that too sometimes. People ask me "did you make that?" and I say "No, I'm trying to sell what I make, not wear it". I would love to but it doesn't happen that way. The designer at the Academy Awards just wanted to be comfortable and herself, and not be restricted in a crazy gown but enjoy the night. If the dress code was to be dressed up, and she felt she was, than good for her.


What are your thoughts on trends and fashion vs style?

Just because something is trendy it doesn't mean it is right for you. Most trends are made for models, which excludes, petite, curvy, average-women's bodies. The designs don't translate. And they may not translate into your lifestyle. Just because it is trendy it doesn't mean it right for your body or your life. I don't focus on what's big or in. Trendy is only trendy in big cities and People who can afford to and are interested in buying a million pieces each year. Fashion is out of style. Buying 2 or 3 trends a year is not  always feasible financially and it is not environmentally friendly either. I don't support that. Specially at this point in my life: I know who I am, how I want to dress... I like to try new things, but I look for things that I can have in my wardrobe for the next 3 to 5 years or more, even pieces that I can wear for a while, put away and wear again a couple of years down. So when I design I think about trends, look on Pinterest, watch runway shows, but I don't really follow what everybody is doing. And sometimes, what the biggest designers are doing is awful anyways. So delusional. It doesn't translate to real people.


Is the fabrics availability also dictated by trends?

It's pretty broad in general, but fabric is one of my main limitations here (and I don't just mean Wyoming, but even Denver). At this point I am exploring where I can source my fabrics, and I am realizing I may have to go to LA to shop before each collection. And that means I'll have to be pretty set in my designs before going there. Which is fine: my process is evolving, and I with it.


What would you say to a local high school girl who is considering becoming a fashion designer?

I would say, make what you love, first and foremost. It shows in your work. If you can stand by your work and be proud of what you’ve made or even defend it, then you have succeeded. I have spent a lot of time making things that I didn’t love and could hardly finish (usually for a customer or because I thought I had to follow a trend). Now that I’m making what I love and want to wear, my work is just my life and I love it! Also, fashion is not all about the spotlight and being famous, it’s about working really hard! Especially when you are starting up your business, you have to be 100% invested in yourself and your work. Be committed and you will succeed. I put in a lot of 10-12 hour days in the studio and it’s never enough. I set outrageous goals for myself. At this point, I just tell myself: "work as hard as you can, but don’t get discouraged if you couldn’t meet your goal". I want to have a life outside of the studio, to spend time with my boyfriend, family and friends. It’s very important to me to keep having amazing life experiences; it inspires me to get back in the studio! In short, work hard, accept failures and believe in yourself.

                                                                                                                                                                                                      


Rachelle Rose Designs will be showing a preview to her Spring Collection at the Kaleidoscope Fashion Show – 3^rd Annual Spring Fashion Show at UW, which will take place May 1^st, at 7pm, in the Union Ballroom.