During that process it became clear to us that something was missing in our industry, a niche that was not being fulfilled...a bridge between the session world and the salon world, and a place for direct, "no fluff", non-brand focused education. We founded MAINENTRANCE Artists with the goal of helping the individual artist and the manufacturer. It is so rewarding to see the growth in the artists that have participated in our Artist Development Workshops! Our challenge has been helping manufacturer's understand that we are here to help strengthen their teams, not turn them in another direction.
This is your third year being nominated at NAHA, which is a huge achievement. What did you take away from past years? How did your experiences at the previous NAHA Awards strategically and creatively influence the work you submitted this year?
ME: We've realized that the most important rule in submitting work is to maintain your artistic integrity. We actually try not to think about what the judges might like or dislike....instead we submit work we are inspired by, that is relevant to movements in the fashion industry. We have found that this approach works best for us. If we satisfy our vision and creativity then we maintain that artistic integrity and can be proud of our work, regardless of competition outcomes.
Who has been your greatest professional influence?
DJR: I don't have a "greatest" because artistry at that level cannot be measured, but Eugene Souleiman and Anthony Mascolo rank high.
BB: It is impossible for me to rank them....Annie Humphreys, Pat Mascolo, and Kim Martin.
What is your typical day like?
ME: Great question! Honestly, each day is so different for us, we are immersed in every part of our business. So a typical day could be anything from taking private appointment clients, to facilitating a workshop in our space, to photography and post-production, to session hair on set at Milk Studios, to beauty production for an industry client. That is the most exciting thing about our business structure...stagnation is impossible!
Much of your education focuses on trend. How do you keep ahead of current movements and how to you select which trends to teach, which will be most viable?
ME: Keeping up with current movements and influences is a constant for us, we are blessed to be in New York and on the scene constantly. We also work with a collective of Trend Forecaster's to simmer down the trends into 4 key ideals each season. We feel it's important to teach all of the trends because each trend can be interpreted commercially, editorially, or radically.