While
a lot of local businesses have tried to play a part in fashion, very
few achieved the symbolic presence of The Black Chandelier. For a
period of time the store and brandname were almost totally synonymous
with all things local fashion, putting Jared Gold ahead of his peers
and a spotlight on any brand that made its way to their shelves. But
in more recent times the stores closed up, designers went off to do their own work, and Jared moved
on from the Utah roots to a more national level. And in a short span of time the line was nearly forgotten.
--- Rachael
Domingo served under Jared for a number of years, learning the ropes
of the business and essentially becoming a better and more recognized
designer in a number of ways. All while establishing herself with her
skills beyond the design team and the brand. Now officially taking
over the Black Chandelier brand she hopes to bring back the unique
style and recognition it once had in the region. I recently got a
chance to chat with her about his career and plans for the future, as
well as visiting the downtown showroom location for photos where she's
currently designing the next line in the brand.
Rachael
Domingo
http://www.blackchandelier.com/
Gavin:
Hey Rachael! First off, tell us a bit about yourself.
Rachael:
I'm a weird art girl with an over-active imagination that often
causes the thousand-yard stare. I was born and raised by a couple of
hippies in downtown Salt Lake City and had a vivid colorful
childhood. For as long as I can remember I have had an insatiable
appetite for creative venues, however it took me a while accept that
art was going to be my life. As a child I was set on becoming a
chinchilla breeder/veterinarian. I shadowed a vet when I was in the
fourth grade and on the first day I witnessed a Doberman Pincher get
neutered... It was the most nauseating experience, instantly crushing
my childhood dream of being a heroic animal saving veterinarian.
Later, my chinchilla gave birth to two unexpected babies in her
outdoor cage in the middle of winter and I found them frozen into two
rock-hard bloody balls - their fur never able to dry upon entering
this cold world. I was completely devastated and forced to
reconsider my highest aspirations. I've come through harder
circumstances since, but one thing I never put down was my pencil,
and it's in many ways brought me through my tangled adventure. I
love the extraordinary and severity. I love creatures still, but have
learned to not put a cage around them to do so! I'm a hard driver
with a love for life, and all things tragically beautiful.
Gavin:
What first got you interested in design work and fashion?
Rachael:
I had very few outside influences that could possibly be responsible
for steering me toward fashion. My mother home-schooled me and my
siblings through junior high to prevent us from being pre-programed into
mainstream society. She was very modest, never wore make-up and made
it a point to steer us away from pop culture and other possibly
corrupt venues such as the fashion industry. However there was
something ticking early on in my head that resonated with fashion
that only gained momentum with time. I remember sitting in my
playhouse with my best friend practicing insistently to correctly
draw a high heeled shoe. I would draw countless pictures of women
decked out in my latest dress and jewelry designs and plaster my
walls with these sketches. It was just very natural to me. I played
dress-up daily for years and I was fascinated with creative hair
styles, wallpaper, dresses, belts, shoes etc. Nothing made me more
happy than new clothes. By the time I was sixteen I finally pinpointed
fashion design as my chosen career path and much to my mother's and grandmother's dismay, began making plans to go to fashion
school.
Gavin:
You went to the Fashion Institute of Design and Merchandising for
schooling. Why did you choose them, and what was their program like
for you?
Rachael:
FIDM was very forward with their promotion. I had considered
several different fashion colleges. I was interested in FIT in New York,
but the stories of cold New York winters deterred me. It came down to Otis
on L.A. or FIDM. I sent in my portfolio packet to an adviser at FIDM
and was instantly contacted by a very persuasive woman who ended up
coming to Salt Lake for one of the schools promotional conferences
and meeting with me personally. With little other support I felt
very welcomed by the administration at FIDM, and was also offered an
entry scholarship, so I resolved to raise the remaining funds to
attend at the Los Angeles campus. The program at FIDM was very
challenging! Girls and guys were dropping like flies all over! I
qualified for the "professional designation" program which
is all fashion design oriented. I was eighteen at the time, so having no
idea what to expect, I was surprised by how technical the design
process actually was. I breezed through my fashion illustration and
visual presentation assignments, but had to really apply myself in
the other courses that were very new to me. Over-all I had a great
experience at FIDM. I graduated magma cum laude and in 2002, I
developed an understanding of how intense and demanding the fashion
industry is, and I gained the skills and knowledge necessary to
survive in wild competition.
Gavin:
What made you decide to come back to Utah to earn your BFA at the U?
And how was it switching programs?
Rachael:
Two reasons. First, I had a four-year scholarship to the U of U that I
originally was going to bypass, but my grandparents (who are
educators and very influential people in my life) had begrudgingly
supported my decision to attend fashion school were now urging me to
take advantage of my scholarship to get a "real degree"
before diving into a career in fashion, (they wished not to see me
embrace). Second, one thing my experience at FIDM had lacked was much
artistic advancement. Visual art was and is a huge part of who I am
and upon Graduation at FIDM, I was feeling quite starved in the area
of art. All of the art I did at FIDM was very structured and
industry-purpose related. I was dying to let the animal out of the
cage and make a mess! So I decided to come back to Utah and as
quickly as possible earn my BA in fine art/illustration before
returning to California or New York to work in fashion. I absolutely hated
attending the U of U at first. I found out that the art programs at
the U had a non-waivable two years of pre-art before you can embark
on your desired area of emphasis. I was so upset by the extra two
years I hadn't anticipated. I felt like I was wasting my time. I
didn't want to do half the assignments, I just wanted to be done and
get out of there. I came very close to quitting, and had a horrible
attitude. The pre-art classes forced me to work with new mediums and
look at art from a new perspective. Eventually I was hooked and had
some profound breakthroughs with my art prompted by assignments,
dedicated instructors and the will to finish. So looking back, it
was an essential experience for my growth as an artist and an
individual.
Gavin:
How did the opportunity to work with Jared Gold come about?
Rachael:
I was attending the U and working at a coffee shop, frustrated over
not being able to find and local fashion work beyond ski outerwear.
One of the Black Chandelier graphic designers came into my work one
day and I overheard him talking about a fashion company photo shoot.
I instantly interrupted and introduced myself. I was asked to come
in and intern. When I walked into Jared Gold's design studio for the
first time I almost bust into tears. I was so excited. It reminded
me of the the fashion lofts back in L.A. I was all nerves meeting
Jared. He gave me my first assignment: a fitted jacket collar
correction. I instantly pulled my skills together and re-worked he
jacket into what he had in mind. Soon I was making patterns for the
"Glinka" collection between work and school, and after
three months I was hired onto the team.
Gavin:
What was it like for you working under his guidance, and helping his
business take off the way it did?
Rachael:
Working for Jared was a truly magical experience for me. Jared is
has a very unique approach to fashion that is embedded in an often
untraceable lake of psychology and muses. He was always surprising
the design team and he propelled all of us into another level of
artistic progression. I was always very concerned with the vitality
of the company and Jared gave me a lot of freedom to assist in the
every many aspects of the company's advancement. When I began my
internship with Jared Gold the studio was bare bones with only a few
sewing machines, two graphic designers and Jared himself. I was able
to be a part of every step in the growth leading up to four retail
stores. We all wore many hats to keep the company operating, but we
were a one time a great team of inspired creative types working
together to create something indescribable.
Gavin:
What was it like for you seeing your designs show up on a national
stage and gain the you the reputation you have for your
designs?
Rachael:
Very surreal. I remember one moment backstage for the "Glinka"
runway show in Los Angeles for spring fashion week and looking and my
team members and screaming at the top of my lungs in excitement!
There I was wearing the clothing I had made the patterns for about to
get on the runway to show my work to a real-deal crowd in the city I
had run off to at age eighteen with nothing more than a big dream in my
head. It was incredibly satisfying to see my efforts come full
circle. As other collections were designed out, it was very
fascinating to see the public reactions to things I had designed. I
love to make people feel inspired by the clothing I make.
Gavin:
What's the process like for you in creating a design, from sketch to
finish product?
Rachael:
Oh man... First I have to eat lots of sugar and lettuce generally.
Next a mentally grueling process of making note of every influence,
notion, trend, etc. that has in anyway engaged my attention in the
last six months and compile a new mental dictionary to work from. Then
it's usually more sugar or tea. I begin sketching with the fabric,
and manufacturing capabilities in mind and go until all the ideas run
out. When I have sketched out a cohesive collection I begin the
patterning or draping process. This step is very technical and
crucial to the fit and overall success of the garment, so depending
on the complexity of the design it can take anywhere from an hour to
weeks to complete this step. Once the pattern is complete I sew up a
mock up in a similar fabric and and test it for fit and drape. If
the sample is successful I then grade the pattern according to the
sizes I want and fill out a cost sheet to determine the cost of each
garment before it is designated for production. Finally the pattern
is either cut out by me and sewn in it's chosen fabrication, or sent
out to be manufactured in larger quantities. When working with a
clothing manufacturer, I work as part of a team and am primarily
responsible for effectively communicating all garment details to the
project head and the visual outcome and fit of my original concept
sketch.
Gavin:
What brought about the end of the design team, and what's your
overall take on that point in time.
Rachael:
It's very complicated, and involves many factors, however, from my
perspective it was largely do to internal relational conflicts and a
lack of focus toward the end. We were all trying to do so much and
keep the stores running. We were over-expanding our product
categories in my opinion, and that said, other team members would
disagree. It was a very difficult time for everyone. What was once
a humming team of designers had become a quarreling group of
diaper rash children all trying to avoid the train wreck waiting to
happen. Our last show together in Salt Lake was intensely beautiful and
perhaps our grandest showing yet, but behind the scenes there was a
lot of negativity breeding, and it was just after that that the Black
Chandelier as is was fell apart.
Gavin:
How was it for you working freelance for various companies during
that period?
Rachael:
I knew there was nothing comparable to The Black Chandelier in the
Utah at the time. I began making plans to move and in the meantime
did some work for the costume department for "High School Musical", and
began teaching a class at the community college for their fashion
program. I was also looking into the possibility of starting my own
company and working with manufacturers in India who I had established
relationships with. It was interesting to be out on my own networking
and taking on unique projects, but nothing was hitting the spot for
me. At one point Danny Nappy, the new designer for Black Chandelier
approached me about assisting him with the continuation of the BC
line, but at that point I was really hungry to have more design
control.
Gavin:
What brought about the decision to take over the Black
Chandelier?
Rachael:
I was en rout to begin my company when I experienced a horrible
accident. I broke my back and almost died. I didn't have health
insurance, so my credit was instantly destroyed by over 200k in
medical debt. I was completely derailed. It took an entire year to
recover during which time I had plenty of time to re-evaluate my life
and my goals. I went through a phase of panic that left me doubting
by desire to be an artist/designer. I thought about going back to
school and doing something medical, or something more "meaningful."
I really wrestled with all of these thoughts and became very
depressed. I never stopped painting through my recovery though and
it really helped me listen to the deepest part of me that still
wanted to create. As I got my strength back I began to make plans
again to move to a more art/design oriented city. During this time I
heard that the last BC store had closed and Danny Nappi had moved on.
I woke up one morning soon after with a itch to go talk to the owner
of the Black Chandelier, Richard Surber, to see what his plans were
with the BC label if any. My meeting with him resulted in an
agreement to take what we had both learned and revive the
label.
Gavin:
What's it been like for you formally taking charge and becoming
accustomed to being the boss?
Rachael:
I tend to be a natural leader, so in this respect it's been nice to
be able to make executive decisions and feel like all of my efforts
are being channeled directly into the sustainability of the company.
Having complete design control has been immensely liberating and
satisfying. I enjoy being responsible for the over-all success and
direction of the company, but with it has come a huge lesson in
commitment. When I just want to forget about things and go play, I
cannot unless everything is squared away.
Gavin:
What are some of the plans you currently have in store for the
current line and others in-store?
Rachael:
My immediate goals have involved restructuring the BC sales
strategy. I'd like to see the BC label as a functioning woman's
apparel wholesale line by spring 2011. It's coming up very soon, so
I have begun the design process and sales strategy outline for that
line already. In the meantime I am selling existing BC and Jared Gold
merchandise as well as printing fresh men's t-shirts to sell through
my three current retailer accounts in the Salt Lake area and working on
re-instating brand awareness through local fashion events. I am
looking into a fall fashion runway event to take place in November
where the spring 2011 wholesale line will debut. As soon as
possible, I want to integrate men's designer wear into the wholesale
offering as well.
Gavin:
A little local, what are your thoughts on our fashion scene, both
good and bad?
Rachael:
Utah is a beautiful place, it's no wonder we have some amazing
talent here as well. The good thing about Utah's fashion scene is
that it's finally kicking and people are starting to get their work
out there. The bad thing is that Utahns tend to be afraid of
standing out and being themselves, so instead of using their energy
to make new waves, it's often wasted looking to accomplish the
current "look" which is usually about three years behind on
a global scale.
Gavin:
Anything you believe could be done to make it more
prominent?
Rachael:
YES! Teamwork. If there is one thing that holds true about the
fashion industry, it's the fact that it only exists because of a
dynamic network of individuals who value and understand each others
skills and unique assets. If local designers can drop their fears
and realize we're all in this together, I think we'll see some major
movement. This is beginning to happen and it's exciting to be apart
of!
Gavin:
Who are some of your favorite local designers at the moment?
Rachael:
Michelle Boucher, (because she's part Asian like me), and Jordan
Halvertson, (because he gave me two of his awesome dresses). The cool
thing about these two is, I've been able to watch their progression
over the years and they are both very hard workers who love what they
do. Michelle is great at incorporating costume-like details into
daily wear, which is very hard to do, and Jordan makes a must have
dinosaur migration hat that I love!
Gavin:
What are your thoughts about other local retailers and how they deal
with local products?
Rachael:
Overall I find most local retailers are very enthusiastic about
carrying local brands. I have really enjoyed getting to know and
working with the retail owners through the city. Once again it's all
about teamwork and they are a major part of why designers are able to
get started here in SLC.
Gavin:
Do you have any favorite shops you like to work with or shop
from?
Rachael:
Currently I have the Black Chandelier brand in Mary Jane's in Park
City, Salt Lake Citizen, Peach Boutique, and Frosty Darling. The
owners of these shops have all be great to work with. I would like to
expand this list when the spring wholesale line is ready.
Gavin:
What's your take on Fashion Stroll and the part its played
recently?
Rachael:
Fashion Stroll is an excellent venue, granted it has much room for
improvement. It's really stirred up the scene and has given many
designers a place and time to show their work inexpensively. Every Fashion Stroll I've attended has had a very exciting energy about it.
I encourage everyone who appreciates original design and community
development to come out and support the local talent.
Gavin:
What can we expect from both Black Chandelier and yourself the rest
of the year?
Rachael:
Integrity most importantly. The BC label has has a bumpy past, and
this industry can be very hard to navigate, but and I am committed to
managing the Black Chandelier with honesty and respect. Art and the
importance of creativity will remain the reason why the Black
Chandelier exists. I want to provide clothing that inspires and
continue to educate the public about the art of fashion design. When
people tell me they aren't into fashion, I tell them to take off all
their cloths. The psychology of dressing ourselves is very
fascinating to me and as a designer and a visual artist, it's great
to see people connect to a designed garment similarly to the way they
do a painting or other piece of art. As far as direction and growth,
there are currently no plans to re-open a retail store, however the
design room doubles as a showroom (59 West 100 South) where people may shop Monday-Wednesday from
1-5PM. Currently my focus is to expand the list of retailers
carrying Black Chandelier, and increase on-line sales.
Gavin:
Is there anything you'd like to promote or plug?
Rachael:
Oh yes - people! Come to the following events: June 19th, fashion
show at Diva's Coffee shop in Salt Lake. This will be an intimate garden
party style event featuring three local designers including Black
Chandelier by Rachael Domingo. Contact Diva's Coffee for all the
details. June 26th, Black Chandelier and five other local designers will
collaborate with the Hive Gallery in Trolley Square and Jake Garn to
throw an evening of art, fashion photography and fashion design. If
you don't know much about fashion this is your opportunity to change
that. All of the designers will be there to explain their
collections and work progress. There will be a behind the scenes
documentary and time to meet everyone and ask questions. The runway
show will begin at 7:30PM. The BC website is currently being reworked,
but visit and sign up for the mailing list so
we can keep you updated. We are also accepting interns at the Black
Chandelier studio. This is an excellent opportunity for anyone who
want's to get first hand industry experience!