Andrew has a prominent tattoo on his chest of his very famous and gorgeous silent film siren great grandmother, Mary Astor. She was in the “Maltese Falcon” with Humphrey Bogart and won an Oscar in 1942. Andrew said that Mary had passed on advice to his mother, who then passed it on to him: “If you want to do anything, do it everyday.” So when Andrew decided to express his inner artist through doll making, it took less than a year for his dolls to be one of the highlights of New York City’s Fashion’s Night Out. He was ordained by Vogue magazine to make a doll based on the aesthetics of many of the top high fashion designers, such as Riccardo Tisci of Givenchy, Alber Elbaz of Lanvin and Stefano Pilati of YSL for Barney’s NY. The sophisticated eye of the ten-year-old in African dashikis in Salt Lake City was on its way to becoming realized in Andrew’s resurrection of a bygone art form.
In addition to the traditional virtues of hard work, the drama and romance of vintage celluloid and obscure Victorian literature is not lost on Andrew. He is all dandy 2011 and gentlemanly in a Brooklyn kind of way in his DIY “art smock” of two flannel shirts sewn together with a ruffle, Thom Browne glen plaid cropped blazer and Rick Owens futuristic riding boot. As he says, a “total gangster walking into a club” in his Jillian Carrozza oversized pom pom knit cream cardigan and white patent pants. And few can make a Dickie’s utilitarian jumpsuit look like Mr Darcy. The French military surplus cape and vintage riding boots are keepers, but I love the way Andrew appreciates the clothes as they wear and tear and just cuts them up and apart for the next season. And so the message of past generations lives on: “Discovering my voice in my work, in my dress, only happened when I truly embraced my differences in appearance, thought and behavior. Love the parts of you that people are most scared of,” Andrew says.