ALANE GABRIEL

MUSIC PRODUCTION-PERFORMANCE-COUTURE
                                  DALLAS

HOW EVERYTHING STARTED

How everything started....


                      Back in 1952 a young dancer from Puerto Rican' decent moved to Spain in hopes to learn the art of flamenco from the best teachers and what better place to learn flamenco than Spain!   His Name was Luis Rivera Rodriguez. He was tall, handsome and very talented! a sure star in the making but flamenco had a different fate for him although he did not knew it yet.

 In one of those days with not much to do, he decided to go to "El rastro" In Sevilla   the slaughter house, where traders and costumers meet each other for a good deal in meat and other commodities and it was here where the whole story of my batas began. Among the goods offered by vendors, was an old bata de cola being sold as an antique...Luis could not help to notice that the cut of it was not like any Bata he had ever seen and he bought the hand made garment and took it home.

With utmost care he cut stitch by stitch the old garment that a times seemed to be falling apart on it's own and he copied the pattern of the bata and ruffles and every little trick he came across and he made a new replica of that old bata... to his surprise the Bata worked flawlessly! even thought it did not have a can can underneath but smaller volantes, similar to those in the surface but not as many and yet they balanced the cola in such a way that the cola did not flipped even thought the spread of ruffles was large and round always fell flat on the floor, whomever had made that bata de cola had made a work of engineering more than a mere fashion trend. however for as perfect as the cola was, it looked dated and  Luis being Luis , decided to innovate the cut to match his own taste but leaving the cola intact...and that was the birth of the man that became one of the most renown Bata de cola couturiers in the industry with a waiting list as big as a bible lol, the stars of the day waited months for their turn to acquire one of his sophisticated and beautiful batas de cola.

Luis worked for many many years and he died a few years a go taking all his secrets of manufacture with him but his bata de cola had different plans for herself....and that is where I come into the picture...I was leaving a very successful career as a life coach and as I was writing a book about healing modalities and finding your own voice, I actually found my own voice and I realised that even thought I loved my work! it was not what I wanted to do ... I was a designer; my true dream since I ever remember was to do wedding gowns and evening gowns...having my own business was my goal and even though I had no idea how to get started I decided to go for it and open my own little designer studio on the side...

By the time I opened my studio, The Bata de cola was already a gown I had been researching for years unsuccessfully ... I had created my own pattern but my colas always flipped and were not easy to control so I would not even dare to offer batas de cola until I knew they were going to work!...I tried everything I knew and nothing worked so for as much as I loved the gown I realized that this gown was not like any other gown and had a bunch of little tricks that it was going to be hard to figure out on my own and I decided to let it go and forget about it and follow my bliss in designing wedding gowns... and that is when Mrs Bata de Cola decided to go back to dancing again lol ... a friend of Luis gave me a pattern from El Maestro with all the quotations and tricks need it to make one...I did not like the bodice, it was too tight and restrictive altough flawless and beautiful it had the pointy boob considered so "chick"  back in the 40's and 50's fashion and it had soo much boning, even under the bra cup! so I can only imagine the discomfort experienced by the dancers of that time; which I am sure did not care because they looked smashing!!!, so I innovated the cut to my like and made it into a "two pieces" that loked like one gown, as a former dancer I hated feeling restricted and uncomfortable so I changed all those things that I thought would bother me as a dancer and the result was a bata that fits like a glove but had more room from the knee down to dance but what really took my breath away was the COLA itself, it was perfect as far as I was concerned! so that was not going to be touched but there was a bit of room for innovation...I never liked the can can thingy under the colas and this cola did not have one so I was already happy about that ..it had smaller volantes in a rather unusual position than I have ever seen but the cola worked just flawlessly!  so I adapted the cola pattern to my bodice pattern and replaced the volantes underneath for lighter pleaded ones to give the cola a more modern looks but mostly to reduce tthe weight, there was no way modern dancers could move such a heavy cola in the modern choreographs where the Bata is as important as the dancer and the music and this was the birth of my batas de cola...and what about the wedding gowns you ask?  well this batas have taken over my studio! but every now and then  I get a bride in search of a wedding gown and every time they see a bata de cola they leave my studio with a white bride bata de cola !

This is the 3rd generation of that old bata de cola found by El maestro... just like Luis, a decent of that old bata de cola found me, and with it, a way to continue dancing... and I am proud to continue were El Maestro Left off. Thanks for visiting and look around and don't hesitate to contact me if you have a question or need further help! 

Cheers!

Alane Gabriel




Corria el año de 1952  y un puertorriqueño de nombre Luis Rivera viajaba a españa con la esperanza de aprender flamenco y ser una estrella del tablao. recien llegaba y empezaba a conocer las tradiciones locales y cada que podia se adentraba en el pais para concerle mejor... En uno de tantos días sin tener mucho que hacer decidio viajar a sevilla ya estando alli, Luis decidió irse de paseo a uno de tantos  mercadillos  cerca  de "El Rastro" donde los fines de semana clientes y proveedores se dan cita para buscar y ofrecer buenas ofertas en carnes y otros artículos. Entre las buenas ofertas del día Luis encontró una vieja bata de cola que al apreciar su corte se veía a leguas que no era como las demás batas de cola que había visto antes. A primera vista, por debajo no tenía el típico cancán de pequeños volantes comunes en todas las batas de cola, sino encontró 3 líneas de volantes regulares en una posición bastante atípica. Sin pensárselo mucho, compró la bata con la intención de copiar el patrón y hacer una réplica. Con mucho cuidado descoció todos los elementos copiándolos en papel y reproduciéndolos en tela paso a paso y después de unos días tenía en sus manos una réplica perfecta de esa vieja bata de cola que, más que moda, perecía haber sido el trabajo de un ingeniero y no de un sastre. La Cola era perfectamente redonda y caía siempre completamente extendida en el suelo, lo único que no encajaba era el cuerpo del vestido, que no era enteramente de su gusto. Es por esto que Luis la rediseño, dejando la cola intacta y así nacieron las batas de cola de este gran diseñador, cuya lista de espera era tan larga como la Biblia. Artistas esperaban meses y meses por su turno de estrenar una de sus sofisticadas batas de cola. Luis trabajó por muchos años y falleció tiempo atrás llevándose consigo los secretos de sus batas de cola. Estas batas, descendientes de aquella vieja bata de cola de El Rastro, tenían otros planes y es aquí donde entro yo en esta historia. Después de haber llevado una exitosa carrera como consejero espiritual y mientras escribía un libro acerca de cómo encontrar tú propósito en la vida, encontré el mío. Me di cuenta de que, aunque mi trabajo era lindo y remunerado, no era lo que yo quería hacer el resto de mi vida. Desde siempre quise ser diseñador y hacer vestidos de noche y de novia y cuando abrí mi taller era con esa intención en realidad. Ya había intentado replicar una bata de cola por muchos años sin éxito aunque no me dedicaba a esto, quería tener la satisfacción de saber cómo hacerlas y quizás hacer una para exhibirla en mi casa. Pero ahora con mis estudios de costura pues podría quizás intentarlo de nuevo y fue aquí que un patrón de bata de cola de Luis llego a mis manos, sin ni siquiera esperármelo. Y es aquí donde empieza la historia de mis batas de cola. En este patrón estaba todo lo que yo necesitaba saber, escrito de puño y letra por el mismo maestro, y así nacieron mis batas de cola. Aunque el cuerpo del vestido no era de mi gusto, era demasiado ajustado y restrictivo y el peso definitivamente muy alto para lo que se hace hoy en día con las batas de cola, así que modifique el cuerpo del vestido y aunque sigue estructurado para hacer una figura perfecta es cómodo y con espacio debajo de la rodilla para mover la cola sin problemas. La cola sin embargo la dejé lo más intacta de la forma original, lo único que remplacé fue el peso de los volantes. La primera vez que vi la cola funcionar me dejo con la boca abierta, a pesar de ser súper extendida volaba por el aire y caía siempre perfectamente extendida. Mis batas son la tercera generación de aquella bata de cola que Luis

encontrara en El Rastro y haciendo honor a su sangre, a pesar de que Luis falleció sin heredar sus conocimientos a nadie, estas batas me encontraron a mí para continuar bailando. Y con gusto las acogí en mi estudio y ahora se han apoderado de mí y ¿qué de los vestidos de novia? Siempre hay una que otra novia que llegan a mi estudio en busca del vestido perfecto y salen en bata de cola blanca. Gracias por tu visita y no dejes de ponerte en contacto conmigo si tienes preguntas o necesitas más información.

Alane Gabriel


Musica:

Bernarda de Utrera - Soleá por bulerías (Por allí viene mi bata) click on the album to buy this record (record not sold on my store)