We are back and ready to fight another war as Nobody Dances Here enters its third season of 90 minute radio banter. Airing live every Saturday, join Quintin Roper and Neha Khanna (now the regular co-host!) for topics including art, entertainment, dating, celebrity culture, fashion, self improvement, and of course…. CHICAGO!!!!

Mathew Santos, famous for his collaborations with Lupe Fiasco, is giving us the scoop on what it’s like to fly solo in the music industry. After being nominated for a Grammy with several live performances under his belt, Santos is aiming higher with an upcoming album that is unlike anything you have heard before!

And Chicago’s own celebrity fashionista, Nicole Briggs of Shrink Boutique, stops by to tell us about Chicago fashion and the journey we all must take to look good, be individuals, and NOT overdo style. Hair, accessories, shoes, and even attitude are discussed as Nicole gives us the rundown on the do’s and don’ts of Fall 2009.

Be sure to comment below, we love community feedback and if you haven’t done it already subscribe to the iTunes podcast now by clicking here!

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Definitely the most controversial broadcast we have had yet. I don’t want to ruin any of the surprises but Sydney is probably the funniest person we have had yet.

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So, what did Quintin learn from this broadcast?

• Mykhall’s dry humor is pure genius and he must come back for future shows.
• Install a two strike rule for callers who can’t turn the volume down on their computers.
• Overbooking is always better than having just the right amount. The cancellations were really heart breaking, but with Obama and the Modelquins by my side, I am sure I will recover.

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Radio show PR courtesy of Courtney Williams.

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Currently, my grad peers and I are supposed to be hunting down internships for next spring. According to my internship counselor, I am attempting to do the impossible: land an on-air hosting gig… that pays… at a major studio… that doesn’t suck eggs.

Well, they told Barrack to sit his skinny tail down back in ’07. Perhaps I will have his same luck?

We've come a long way. No turning back now.

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The Chicago History Museum is exhibiting “Chic Chicago”: its one of a kind collection of historical costumes that date from 1861 to 2008, all worn by Chicago women. Curated by Timothy Long, the exhibit displays the most breathtakingly beautiful garments you will ever get the opportunity to see in this city.

What first struck me about this show was Tracy Gerladez’s smart layout of mannequins in the calm gallery space, which immediately made me feel as though I had entered a safe place where my curiosities and need for inspiration were caringly fulfilled. The dresses are grouped by key eras of fashion, and the transitions between trends are cleverly placed along a runway. It is easy to navigate, with detailed literature provided about each garment, its creator and the person who wore it.

All of the costumes had interesting details, innovative shapes and illuminating textures. Roy Halston’s orange off-the-shoulder silk jersey evening gown (made in 1970) bestowed the most beautiful draping techniques I have ever seen: the energy of the gown spirals into the left hip as the fabric gracefully falls to the floor. Visually, Halston’s dress has a lot of movement while impressively maintaining a simple goddess silhouette.

Paul Poiret’s 1913 “Sorbet Dress”—probably the most famous dress in the entire collection—is a black and white satin masterpiece. Noted for being the first of the modern era, the Japanese inspired garment did away with the notion that women should be in corsets. Instead, Poiret offers a comfortable and cute alternative, complete with chiffon and glass beads.

Another piece that would cause anyone’s jaw to drop is Charles James’s “Butterfly” ball gown. Ironically, if you look hard enough at it, you can see that James literally created a wrapped cocoon body for the main piece and completed it with a lavish cape of wings. The bone and tan color used for the 17 pound piece is stunning, but you are left concerned about the comfort of the lucky woman wearing it.

While you are not allowed to touch the garments, some offer miniature components so that you can see how the garment was technically crafted. The exhibition and catalogue designers managed to made everything look so…. sexy. Overall, “Chic Chicago” displays an unusual level of elegance, and it was very pleasing to know that in a non-fashion capital, the city still has highly sophisticated fashion etiquette.

This piece is also featured in the upcoming issue of F News Magazine!
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What? Too soon?! Phhhh. We have a black president now. I can do whatever I want.

http://freeradiosaic.org/radio/shows/53/

Tune in this SUNDAY at 8pm Central! You can call in, email, or chat live with us during the broadcast. The first topic this week will be about Romance and Friendships. The following week… (drum roll) Race Relations in Chicago. This would be a prime time to throw in your two cents.

You can stream the live broadcast from your browser OR through i-tunes and Windows Media Player.

Here is our cheap attempt to make publicity:

I love photoshop.

First to hit the runway was The School of the Art Institute Chicago. Known for their overly conceptual work, the collections presented were well tailored and “interesting”. Tyler Coughlin presented an explosive fireball of clothes that looked like satanic Halloween costumes. Adorned with sharp red, enameled gold, and jet black the variety of his collection seemed limited and didn’t have the wearability that the common folk long for. On the complete opposite end, Moriko Golden showcased a softer palette of earth tones and funk that drew inspiration from the mystery of gardens. Each piece had a story that was related to mother nature and was tastefully executed. Her models did not wear shoes, which was a powerful statement as most of the designers insisted on using heels to support their work. At times during the beginning of the show, one could feel a sudden jolt of confusion when the garments appeared on stage. When Min Jeong Ko presented her collection of scraps it definitely reemphasized SAIC’s tendency to choose concept over aesthetic.

The showstopper was perhaps Columbia College who was able to tone down concept to appease the audiences. Cute skirts, luxurious evening gowns, hot denim, and unbelievable footwear made is seem like these students were better prepared for the business of fashion. Liz Klimek presented a lavender sundress with budding pink and yellow flowers trimming it and it received the first applause of the night; a kick in the face to the misunderstood SAIC. It happened again throughout Yuka Tekada’s presentation. She proved her genius with a very witty use of lace and purple fabric. A conservative high-waisted plaid skirt, with rocker black lace gloves oooo’d as couture purple and brown business skirt and top awed. Her clothing was both fresh and contemporary, leaving many to wonder when they could purchase. Columbia was not all glory that night. Reginald Ilagen managed to provide the tackiness for the evening; a cliché collection of black dresses with leopard print. Although his draping technique was interesting, and his silhouettes professional, it did not encourage the same level of amazement or adventure that the designers had before him. One might suggest that Ilagen perhaps should have gone first for the evening.

The International Acadmey of Design & Technology had a few good pieces come down the runway. Fraley Le who had a natural ability to experiment with the female form. She took risks, especially in one garment were a dress had a detailed exaggeration at the hips, which might have been ill fitting but looked absolutely amazing on the model. It was clear that her vision on the collection was an interpretation of the safe “little black dress”. But the concepts of her classmates were messy and had a noticeable ego.

Once Columbia had wrapped up, the show went down hill. And it was a mighty big hill.

The Illinois Institute of Art showcased a collection of boxy and poorly executed work. It was embarrassing to watch. The clothing did not fit and was not innovative in its presentation. Common things like plaid pants or the over used “flower-as-blouse” seemed like these students allowed too many things to inspire them. At times there were hopeful moments as the models first stepped on to the runway. But the optimism was ruined by clothing falling off, string flapping around, or the apparent discomfort of the model attempting to make the garment look good. Adriana Gonzalez was mildly impressive with her conceptual work of sienna grey gowns. But it begs the question, “What are you in school for?”

In all, the fashion show was a success in it’s attempt to convey Chicago as a fashion capital. There were a few moments of annoyance, like the added finale of the “Make Me a Model” search where one of the runway models won an official contract, which cheapened the night. But events like this are absolutely necessary to redefine Chicago’s ability to be an art center.

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