The 35th Cypress Community Festival really cranked up the heat this past Saturday with its display of hot weather, hot home cooked chili, and fresh pancakes. Still, there was another specific element of the festival that seemed to really capture the eyes and the hearts of the city’s onlookers, and that special something was the Cypress Community Festival’s Classic Car Show.Many hot rides made their way to the very back of Oak Knoll Park to showcase a nostalgic array of old-school hotrods, low-riders, and other vehicles that were flexing some real American Muscle. The entire festival and car show itself was so generously sponsored by the likes of Cypress Church, Chick-fil-A, Knott’s Berry Farm, Yamaha Motor Corporation USA, Forest Lawn, The Event News, and many others.One of the classic cars that seemed to catch most of the crowd’s attention was a 1966 Chevelle Malibu. “This is my first time attending the event,” says Jason Bear, who owns the Artesian Blue beauty. “I’ve been doing car shows for a few months now.” Bear hails from the Inland Empire, and is looking to make a name for himself within the car show circuit. With a car like his Chevelle, he should have no problem with that.Bears ride was actually on the 2002 cover of “Super Chevy Magazine,” but was totaled by it’s original owners. The original owners were a father and son duo that used to race the car in competitions. Sadly, after the father got caught up in some serious health issues, he couldn’t repair or remodel the car. So he looked for a new young driver that he could sell the ride to, so that car could be saved and the tradition could live on through someone else who would be able to take up the mantel.“I was that driver,” says Bear. “It was a crazy experience. He just found me one day, and asked me if I would be interested in the car. He sold it to me at a really cheat price, that was way off what the car was really worth. He just told me to please rebuild the car, and to carry on the family tradition. See, these cars and the classic car lifestyle is starting to die out because a lot of the older drivers are passing away. The younger guys just don’t carry on the tradition, because they are only focused on Japanese or foreign cars where everything is electronic. This is why it is so important the younger guys learn how to rebuild engines, many of them don’t know how anymore. Electronic cars are easier to build.”Many of the old-school drivers are very supportive of the younger drivers who are trying and are striving to learn how to work on these particular vehicles and often take them under their wing to coach them through the whole process of buying parts and re-fixing their cars. “They are all very supportive,” says Bear. “They are very family oriented and are willing to help you with anything that you need. It’s like a sort of fraternity. The older drivers understand that they can’t carry on the legacy themselves forever, so they pass their knowledge on to the younger drivers to keep the ‘Classic Car Culture’ from dying.”Abraham Aguilar is another young up and coming driver that is looking to keep the “Classic Car Culture” alive. Sporting a 1950 Chevy Styleline, he also is looking to make a huge impression on the car show circuit.“It is my second time here at the Cypress Community Festival and I’m just enjoying it,” says Aguilar. “I first bought my car in 2008, and have invested over $16,000 into it. I’m hoping all of the hard work pays off and we win big.” Aguilar has always had a classic car since high school. His friends were the one’s who helped introduce him into the ‘Classic Car Culture.’ I also have two other classic cars that I have been working on at home. I have a 1947 Chevy, and a 1910 Cadillac.”Aguilar is barely starting to get into the car show circuit and is looking forward to winning some awards in the future.Spencer Nardelli on the other hand, is a seasoned veteran when it comes to premiering his awesome car at the Cypress Community Festival. He has been one of the top drivers in the car show, and has even won the “People’s Choice Award,” in 2013. I have been participating in Cypress’ Classic Car Show for eight years now, and invested over $40,000 in my 1966 GMC Suburban,” says Nardelli.Nardelli first fell in love with cars when he was a teenager. His father taught him all there is to know about cars, and taught him how to fix everything on a vehicle from engines, to stereos, to putting on new shinny rims.“I learned everything from my father, it was a cherished tradition when I was a child,” expressed Nardelli. “The most important thing that I want people to know about customizing and fixing cars, is that it is very important that you make it your own. Just do it, go out and be expressive, personalize your car, and make that vehicle a part of you. The beautiful thing that I like most about car shows is that it brings people together from all walks of life. It doesn’t matter what kind of car you have, from old cars to new, from American to foreign, or from hotrod to bug, everyone has an artistic appreciation for what you bring to the table."No matter what it is, it will speak to someone and will inspire somebody. If you really put your heart and mind into it, the people will appreciate your work. There is something for everybody here, and the older drivers are nice and will take you under their wing to teach you more about what you can do to fix your car. It’s like a family here.”
Miss Ginger’s Dancers will take the stage for the 34th year in a row at the Cypress Community Festival.This group is comprised of dance teacher Ginger Anderson’s students from her Cypress Community Center classes. Though Anderson’s classes teach styles of dance typical of a regular studio, like jazz, ballet, and hip hop, what sets her classes apart from studio classes is the broad age range of her students.“Our dancers range in age from three to 87,” Anderson said. “It’s been my experience in my years that studios teach dancers how to dance so you come to them and you already have some talent. I think everyone should get to dance.”In her 35 years as a dance instructor, Anderson estimates that she has had more than 25,000 students of varying ages. However, though some of these students perform for a living as professional ballerinas, opera singers, or Rockettes, entering the industry is not Anderson’s goal for her students.“My [dancers] grow up and they are real people. They are not necessarily destined for the dance world…I don’t encourage them for that,” Anderson said. “I encourage them to have dance in their lives because it’s a wonderful thing to have and I don’t encourage them to be professional dancers. I encourage them to go to college and get a degree in something they enjoy and actually make themselves a decent living.”Anderson’s dancers have become a traditional spectacle at the Cypress Community Festival and will kick off the festivities with a two-hour performance. Through performance opportunities at public venues like this, she hopes that her students will become more self-confident and comfortable in front of crowds.“My whole purpose is I’m not necessarily making you a dancer; if you choose to pursue that, you may,” Anderson said. “My biggest reward is if I’ve taught you how to be in front of people and not be afraid.”Miss Ginger’s Dancers will perform at the Main Stage at the festival on Saturday at 9:15 a.m.For more information about “Miss Ginger’s Dancers,” call the Cypress Community Center, 714-229-6780.
Laurie Pacheco of Cypress was named a finalist in the Crème de la Tributes karaoke singing competition at the Orange County Market Place in Costa Mesa on Saturday, June 13. This contest pits vocalists who sing, look and act like celebrity performers. Finalists go on to compete at KaraokeFest 2015 at the Los Angeles County Fair in Pomona on Sept. 19.Pacheco performed as Cher and sang “The Way of Love.”Two more Saturdays of qualifying rounds will be held at the Orange County Market Place: June 20 and 27 and also includes a Crème de la Kids division for ages 17 and under. There is no age restriction for the Tributes division. There is a $5 registration fee.Signups for the Kids is from 9 a.m. to 10:30 a.m. and singing begins at 11 a.m. Tributes can sign up from 11 a.m. to 12:30 p.m. with singing starting at 1 p.m.More information on KaraokeFest may be obtained by calling 714-826-2212 or visiting www.karaokescene.com.
Lela Rose found her charming resort inspiration in a Seventies Lynn Anderson song lyric, which she was game to recite during her outdoor presentation at Jefferson Market Garden on Wednesday afternoon: “I beg your pardon, I never promised you a rose garden.” No pardon necessary, because she delivered a collection hinged on that flower, rendered in various sizes and varieties, in prints and embroideries. Tattoo-style embroidery, a new method for the brand, was prominent on a black cotton poplin shirtdress with fluted sleeves. Double collars, prevalent on several looks, were most interesting when adorned with lace or embroidery.Other pretty details included pearlsinset in the sleeves of a white poplin shirt and on an off-the-shoulder wool crepe top, and lace-up grosgrain details on the bodice of a dusty pink and moss brocade dress. If the cold-shoulder look of a camel dress felt played out, overall the collection delivered on the brand promise: pretty modernity.See More From the 2018 Resort Collections:
Patrick Grant said he wanted to make some “really beautiful…non-shouty clothes” for this collection, which was filled with breezy yet sharply cut pieces that mined an early Eighties mood.Specifically, Grant said he’d looked to images of Jeremy Irons modeling during that period. “There was this totally relaxed elegance about it all,” said the designer.Silhouettes ran from the sporty to the sartorial, but all had a sense of refinement. A navy suit jacket had gently sloping shoulders and was paired with loosely tailored pants, while a field jacket in a slightly iridescent oxblood color was teamed with loose linen shorts — and a shirt and skinny tie. Grant noted that he’d wanted to work with some retro fabrics “that I remembered my dad having shirts in,” such as muslin and cheesecloth. These textures, along with fabrics such as bouclé wool and linen, brought a relaxed appeal to Grant’s signature tailoring.
“Here, the whole feel is this combination of color blocking with this very deep artisanal and hand-crafted element which is really the signature we want to give to Edun,” said Edun chief executive officer Julien Labat of the resort collection.“During the trip in Ghana a lot of the artisans we had a chance to work with were telling us “please tell the people that this is from Ghana; which is why we developed the “made in ghana”phrase on the batik; then we also got really inspired by the souvenir shops over there,” Labat explained. The result, colorful Logo T-shirts and shorts that looked like they were literally from a souvenir shop but with the kind of construction found perhaps at a fashion boutique.Edun’s collaboration with artisans was strongly reinforced by Labat this season. Knitwise, he explained, that they worked with wool farms in Madagascar to developa unique open cable-knitted mohair, and a caftan in a bi-color plisse stitch with oversize fringe; Another particular collaboration brought abouta stripe cloth weave done by traditional woodlooms by the artisans of Mariama Fashion Productions — amongst others.
Georgia-born Demna Gvasalia recently told WWD he’s moving on from the underground club scene and the Eastern Bloc aesthetic which had fueled his Vetements shows, one of which opened with his Russian peer Gosha Rubchinskiy storming down the runway in a DHL T-shirt.By contrast, Rubchinskiy, who staged his spring 2018 show in Saint Petersburg late Friday night, is still very much in the thick of it. He chose the northern city because it was home to the first raves of the post-Soviet era, when kids were eager to connect with the Western world and express themselves through fashion and parties.Friday’s event started with a rooftop cocktail at Au Pont Rouge, a department store in a historical building that carries brands like Rick Owens, Marni, Alexander Wang and Gosha Rubchinskiy.
For the past few seasons, Phoebe English has been looking to men at work — not hardhat types or road repairers with jackhammers but softer-edged, quieter types.During her fall presentation earlier this year, her men folded sheets, hung clothes on the line and swept the floor — while looking incredibly polished. This season, models stood at tall tables and shaped mounds of clay, their work displayed on the trestle shelves nearby.They were dressed in workwear-inspired silhouettes done in various types of cotton and in fabrics such as denim, fine poplin and canvas linen.
Ben Sherman may be all about heritage shirts, its signature staple, but creative director Mark Williams upped the ante on the commercial brand’s bottoms for spring. With the “Peacock Revolution” of the Sixties in mind, which ushered in a bolder, more colorful form of dressing, Williams worked a series of the good old jeans to great effect, a category he said he would like to grow. For spring, they came in handsome tan and terracotta hues.A highlight was a tapered version, sitting high at the waist and with large cuffs revealing its noble selvage construction, which stole the show from the more traditional tailored numbers in the lineup. Williams said “the great thing about it is that it’s actually made here in London by Blackhorse [Lane Ateliers],” a manufacturer known for its sustainable approach.Meanwhile, checks and rich floral patterns dominated the jolly volley of Cubano shirts, classic men’s shirts and sweaters, occasionally also surfacing on the sleeves of a gray blazer, giving it a friendlier, more eccentric twist.
Astrid Andersen likes a good gamble.Her penchant for contrasting codes has already put her on the map with the cool kids in town, but this season the designer, who chose the safari as her starting point for spring, has pushed the boundaries even further.Like a casino croupier deals a game of cards, Andersen played the high against the low, skillfully mixing streetwear staples with classic couture fabrics, which resulted in a fresh, new aesthetic for those young urban tribes so obsessed with individuality and self-expression.Forget everything you knew about safaris, though. In Andersen’s vocabulary, the wild life started at home: super-baggy pants in floral silks, roomy sports jerseys worked in delicate lace and tweed hoodies with matching mosquito hats — some of which were trailing floor-length at the back — set the tone for this high-energy collection, fit for the African grassland as well as an upscale city gym.