Saltus River Grill

Historic Beaufort’s Urban Seafood Grill.

Domaine Carneros Rosé, Prince Edward Island Mussels, Steamed in White Wine, Herbs, Butter with Pomme Frites and Black truffle Aioli from Saltus River Grill in Beaufort, SC.


802 Bay Street, Historic Beaufort, SC 29902.

Anchorage 1770 Inn

Formally known as the William Elliot House, the Anchorage House is located in Historic Beaufort at 1103 Bay Street. It was built in 1770 by William Elliot, a well known agriculturalist, author, sportsman, politician and poet. 

While he was prominently pro-Southern politically and in favor of slavery, he opposed Secession and resigned from his position in the Senate. During the occupation of Beaufort in the Civil War, the house was used as a hospital and named the Mission House. It is told that General Sherman said Beaufort was too beautiful to burn, occupying the many vacated mansions. 

In the late 1800’s, Admiral Beardsley, a retired Naval Officer, bought the house for five thousand dollars and spent eighty thousands in renovations. Stucco coats the exterior and intricate woodwork carvings decorate the interior. The William Elliot House was renamed The Anchorage House, and later saved and preserved by the Historic Beaufort Foundation.  

In 1971, the house was listed on the National Register of Historic Places. The house has been used as a restaurant, boarding house, event space and office space. In 2014, Amy and Crank Lesesne purchased the house. They renovated the building adding fifteen bathrooms, modern kitchen, cottage and an elevator. It opened as an Inn in July of 2015 and named one of the top 52 places in the world to visit by The New Tork Times in 2016. 

Mudsmith Coffee

Mario Badescu Skincare 

This Drying Lotion is a fast acting, effective acne spot treatment. Formulated with salicylic acid, calamine and other quick-drying ingredients, this product will shrink ugly whiteheads virtually overnight while you sleep. While other acne spot treatments can irritate and dry delicate or sensitive skin, this product is safe and effective for ALL skin types.

1 oz. // $ 17.00

How to use: Before bed (after cleansing, toning, and moisturizing) dip a cotton swab into the pink sediment at the bottom of the bottle. Apply a dab of this lotion directly on the whitehead. Do not rub in. Let it dry and rinse off in the morning. DO NOT shake the bottle; if contents get shaken during packing and delivery, place the bottle on a flat surface until the layers separate and the pink sediment rests on the bottom.

Ingredients: Isopropyl Alcohol,Aqua (Water,Eau), CalamineCamphor,Sulfur, Zinc OxideTitanium DioxideTalc,Glycerin, Salicylic Acid



Work from Home

Little kitty big world! Last week Monkey went outside all on her own, and I was so thankful I was home to see how smart she is! I watched her get back into the house through the back doggy-door from the front yard, escape from a dog and climb a tree to get over a fence. I was able to see her take these leaps of faith because I was working from home. The thankfulness I had goes hand-in-hand with stay at home moms and their children. I read this article today from It emphasizes the importance of motherhood and that yes, you can have a successful career too. I hope you enjoy it!

read it here at

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The Future of Flexible Work

Several years ago, Sophie Wade found herself confronting a problem that’s become central to modern life: Her 3-year-old and 10-year-old were complaining that they never saw her. Struggling to find that always tenuous balance between work and family, she decided that maybe she should listen to her son, and try to find a “half job.” Wade, who had spent her career in strategy and finance-related business development roles, started looking around for a situation that would only require three days a week—with minimal weekend invasions—and landed a job as a principal at a boutique executive search firm. And then she started to think about all the other workers who shared her former plight—and all the parents who felt compelled to step out of the workforce entirely because they couldn’t make the balance work. And so she decided to do something about it, and set up a company called Flexcel Network, which started out matchmaking companies and workers wanting flexible jobs, and now helps companies and individuals make successful transitions to the new work environment, including flexible models. As she explains, “The alternative was to face an uphill battle of trying to persuade someone to create a flexible job for me…this was 2011, when flex was not a familiar topic and there wasn’t nearly the same amount of data proving how beneficial it is for all parties.” Below, she rolls out the benefits, hurdles, and opportunities. Meanwhile, Sophie is joining us next Tuesday, August 11 at 1pm EST for a Twitter chat about flexible work. Tweet your questions @goop along with the hashtag #goopchat or follow along by searching #goopchat and clicking All Tweets.


What does a perfect job look like for most of the people you encounter?


It’s different for everyone. The only consistent theme is that 9-5, five-days-a-week (or a similar alternative) at one fixed location works well for only a handful of people. Different people would like or need varying options or models depending on (a) their optimal working style (are they an independent worker, or do they need other people as stimuli), and (b) what flexible work model or framework would best fit the needs of their families, activities, and obligations. In fact, the first significant challenge for everyone is to work out what the “perfect job” might look like. Until very recently, there were no choices and if one actually enjoyed one’s work, it was assumed to be unpaid.

Without the means or catalyst to question the habit, the majority of people are ill-equipped to work out what that “perfect job” might look like for them. It requires some real thought and discussion for an individual to identify what hours to work, on which days, and accomplished at what location(s). Plus, it’s important to consider what their work-related deal-breakers are, versus desired flex elements, as well as how much they need versus want to work.


Is this more true of women, or do you find that it is genderless?


Women typically face tough struggles if they are the primary care givers for their children and or other relative(s) and work full-time. In my experience, they typically don’t look for the “perfect job,” they simply try and find one that limits the conflict and stress to bearable levels. At the same time, a study from the Families and Work Institute showed that men actually express more work/life conflict than women—60% versus 47% in dual-earner couples. Men have been constrained by stereotypes as to what is expected of them—their desire for different options has been noticeable as flexible working options have become more accepted.

Anne-Marie Slaughter was very surprised by the number of Millennial men who wrote to her after her “Women Still Can’t Have It All” article in The Atlantic in 2012, complaining they are viewed as weak and harassed if they prioritize family over their corporate work. Flexible work models are appropriate for everyone. Studies now show that if our individual working strengths are recognized—e.g. one person can be most productive at night, another does their best work in the morning—then productivity also increases significantly. The individuals are happier, which means they are more engaged, productive, healthier, and less stressed—loyalty, and therefore retention, increases.


What’s the foundation of inflexible, 40-hour work weeks? Where did it come from, and why was it adopted as the standard?


The origins of the 40-hour work week are from the Industrial Revolution in the UK. A Welsh social reformer, Robert Owen, originally came up with the seemingly logical and “balanced,” but totally arbitrary, 40-hour week with a slogan he coined in 1817: “Eight hours of labor, eight hours of recreation, and eight hours of rest.” The idea was to create a standard and reduce the prevailing accepted practices of grueling 10 to 16 hours days, six days a week, which men and women were working in the factories and elsewhere side by side. At this time, children were also working 8 to 12 hours a day, six days a week, depending on whether they were 9-13 or 14-18. The eight-hour day was adopted as law in the UK in 1884 and other countries, like Mexico in 1917 and Spain in 1919, but it took longer in the U.S. Labor organizers in several U.S. states were campaigning in the 1870’s with a network of Eight-Hour Leagues and achieved success in certain places or industries, like for miners and railroad workers. However, it was not fully instituted nationwide until 1937 as the Fair Labor Standards Act, which was part of the New Deal.


Why has a desire for a more flexible work week only been expressed recently?


The current Labor Laws were established in the 1950’s, a unique period of economic boom after World War II, when households could be sufficiently supported by one income and, as a result, only 34% of women worked outside the home. This was an anomaly for women who had been working alongside men for decades, in the factories and, before that, for centuries in the fields. Since then—from economic need as well as choice—women have been increasing their presence in the corporate workforce. By 1999, the labor force participation rate for women had risen to 60%. (It has since actually declined to 56%, which is mostly explained by a lack of workplace flexibility.)

However, because the labor laws in the United States are geared toward this unique economic period in the past, with the expectation that someone would be working in the home, they do not accommodate typical daily circumstances for the majority of workers now. For example, these laws don’t mandate paid time off to have and nurture a baby; they don’t mandate affordable day care; they don’t allow much give in the system to allow for differences in family situation; they don’t support the caregiving of ailing relatives; they don’t try to mitigate challenging long commutes to work or weather-related school closures. And there’s so much more.

Very importantly, in parallel, technology has been a critical enabler of different ways of working. Key developments started with the prevalence of laptops versus desktop computers which became connected by broadband. Then came smartphones in 65% of American hands connected by widely-available WiFi and powered by collaborative software. This all presents very different options for the majority of workers. People are now able to interact with others to do complex tasks from multiple remote and office-based locations. The capacity to work in a less fixed and structured way has allowed workers to challenge the status quo, indicating that the fixed formula is no longer necessary or beneficial.


Is a flexible job right for everyone? What about those who argue that people will just take advantage?


Every person has their own optimal working style and life situation. As a result, if employers are interested in getting the most out of all members of their workforce, they need to recognize this and give everyone some type of flexibility in their job. The opportunity is to permit appropriate concessions—such as a change in the timing of work hours or a change in work location—to allow each person to adapt and optimize for their specific work profile and circumstances. This customization enhances employees’ productivity by enabling them to work in a way that better fits their other obligations and responsibilities. Their stress levels are then reduced, which also improves their happiness and health. It is a true win-win situation. In addition, the respect shown to each person as a unique individual encourages a positive and reciprocal reaction from the employee toward the employer, since interests and intentions are more aligned. With a new relationship dynamic based on respect, trust can develop, significantly improving all interactions.

There will always be certain people who take unfair advantage of situations. This cannot be avoided with flexible work models either, though the impact can be mitigated. There are office-based flex options which simply involve a change in work start and end times which can be ideal for those employees who might be less inclined to work in the expected/desired way when not in the office. Remote working or telecommuting, where the employee works from home or another location not at the main office, is the main flex option cited for potential abuse as the person is typically not visually monitored during the working day. However, appropriate task assignment and monitoring, coupled with suitable performance metrics and review, can ensure the tracking of teleworking employees’ ongoing task accomplishment. It is important to match the flex working option that suits both the employee’s situation and their optimal working style.


Should you overtly ask for a more flexible situation, or just find a way to make your job more flexible?


There are many ways to achieve a more flexible situation, and it is very specific to a person’s situation, job, manager, and company. The optimal method for achieving it depends very much on the kind of flexibility that is desired; the company’s current flex-related policies; and what flex options are generally accepted by the company and the specific boss/manager.

These aspects determine the subtleties of what is likely achievable, how to position the request, and how to try and get the modification long-term. In many companies, informal flexible arrangements are typical. It allows the company not to set precedents company-wide and, if they see a flex option as a privilege, they can more easily take it away. This is not the best long-term solution, but it can be a meaningful step in improving work/life fit and an interim measure until flex becomes more accepted everywhere and formal, long-term flex policies become institutionalized.

So, if your company is still generally resistant to flex arrangements, but your boss seems open-minded, proposing an informal, 3-month trial can be a good concept to test. Appropriate performance metrics are important to put forward as well, with adaptations as necessary for the specific flex set-up. Then, your continued consistent achievement of tasks can prove the new flex arrangement is not impacting your work or the company. It is critical to understand that the onus is on you to make your proposal for flexibility one that will not negatively impact the business.


How can companies evolve and adapt to meet demands of the new workforce? And how imperative is it that they do?


The two major drivers of the new way of working, typically referred to as “The Future of Work,” are technology advances and the Millennials. Technology has changed the game in that people are now are able to work from almost anywhere and at any time. A large portion of employees no longer have to be tethered to the office to be able to fulfill their tasks. At the same time, Millennials, otherwise known as Generation Y, are demanding very different work environments and work models. They are a larger generational group than the Boomers (estimated at 75-80 million people and generally including everyone born between 1980 to 2000) and are expected to make up 50% of the workforce in 2020 and 75% by 2025.

Since Millennials will make up an increasingly large percentage of every employer’s workforce, it is essential that attention is paid to understanding the very different emerging work environment they are looking for. Their demands likely stem, in part, from the fact that they had far fewer good job opportunities when leaving college and had to survive on project work. In addition, they have looked to Boomer and Generation Xers for viable work/life models without much success.

Companies first need to address a couple of their core demands, as they are beneficial for all employees. These are to have: (a) “purpose-driven culture,” where the executive team needs to (possibly develop first and then) articulate clearly their corporate values and why someone should want to work there, and (b) flexible working models, which recognize and address the different needs and life situations of all workers, particularly with respect to timing and location. This can be done formally or informally. It can be trialed for a small group or department and then rolled out division by division until it’s company-wide. Managers are critical to engage in the process so that a unit’s needs can be understood and coordinated with reciprocal benefits.

Future of Work-related changes are also increasing the number of part-time workers and freelancers, which companies can benefit from, using different working models to leverage senior expertise when desired, explore new markets, cope with seasonal fluctuations, and more. Again, there are significant benefits for both sides.


Do you have any advice for new moms who want to step out for a while to be with their baby? Any way to anticipatorily ease/plan for a transition back? Or, once you’re out, are you out?


The Future of Work environment is characterized by a general move away from traditional long-term, single company career trajectories, with many fewer full-time jobs overall. The emphasis is already shifting to diversified, portfolio careers, often made up of a combination of part-time and freelance work. As a result, project work is becoming much more prevalent and accepted for almost every type of career.

My personal recommendation to women who are either preparing to start or are at the beginning of raising a family is to find some way to stay at least nominally involved in the corporate workforce. Some corporate involvement can be maintained by doing occasional small projects or getting a limited part-time job within a reasonable time-frame after giving birth. This can help mitigate the devastating detrimental impact to confidence that is so pervasive amongst those who take a hiatus of more than a year from the office environment. Lack of confidence prevents so many highly-qualified professionals from so-called “on-ramping” again without a struggle, as they feel left behind as well as isolated from a world they were previously very familiar with, and even may have been high-fliers in.

Once someone has been out of the workforce for a few years, transitioning back in is achieved by a mixture of energy and determination…and often quite a bit of persistence and patience. Taking on project work is generally found to be the easiest way to get started. For the professional, it helps them get their feet wet in a manageable way—both logistically, and by mentally getting them back into the corporate mindset. For a prospective employer, this can be seen as a low-risk trial, and an opportunity to test someone’s experience and expertise before signing them on for a longer-term role. Such projects may be paid or even unpaid, depending on the situation. If the returning professional is looking to apply their skills in a different area, then proposing a limited “executive internship” with measurable goals can be one way of initially proving one’s worth in a new field. However, there must be clear understanding of the metrics that will prove employee value and trigger conversion to a paid model.


Do you believe that employers will have to get on-board?


Flexibility would not be gaining as much momentum as it has over the last three years if countless studies and the numerous results of successful implementation were not proving over and over again the plethora of benefits accruing to employers. Indeed, as of June last year, the “right to request flexibility” became mandatory in the UK for all employees who have worked more than 26 weeks at a company. This right was originally introduced in 2003, but only to parents with children under 6-years-old. Then, with widespread, successful results, the law was expanded incrementally over subsequent years to include parents with older children, then also caregivers and, finally, everyone.

The carefully thought through process of requesting flexibility has been one critical reason for the successful roll-out of this law, in that the responsibility is clearly given to employees to develop a viable proposal for their flexible request. Employees have to communicate how their desired new set-up will not adversely impact the completion of their individual tasks or the business in general. Then, the employer derives benefit when their employees, working under conditions that they have had more control in determining, are more relaxed, happier, more engaged, and more productive.

The financial rewards are generally significant (depending on how many of the many flex models are implemented)—including higher productivity, lower turnover, lower real estate costs, and lower health costs. However, establishing flexibility formally can take quite a substantial amount of investment—in time, money, and effort by the employer. To roll-out workplace flexibility successfully, managers need to be on board and recognize the benefits to the organization. In addition, with unaligned work hours and remote working locations for individual workers, new means of synchronizing collaborative meetings and increased communication are necessary to sort out, which can be a substantial task to undertake. Workers also need to understand both the flex models, as well as which individual option would best suit them personally. Training is certainly recommended to help them make and implement the right choices. Luckily, the rewards have been proven over and again that it is worth it, for all parties.


What are other things that employers need to do to create happy and engaged employees?


It is an amazing development that “happiness” is actually a corporate objective for some companies these days. We have come a very long way! There are numerous additional ways to engage employees so they can enjoy their work and accomplish their tasks as best as possible. Many of these cost no or little money and can be selected depending on those elements that make a difference to the specific employees of a particular company. These encompass such elements as:

  • Confirming and articulating the company’s culture, values and goals so employees can be aligned with what they are working for and why;
  • Changing the physical working environment to be more relaxed and conducive to interaction and collaboration;
  • Recognizing and celebrating many types of employee contributions and accomplishments;
  • Enabling transparency throughout the organization to create an inclusive environment;
  • Instituting volunteer days for employee-recommended charities;
  • Introducing company-sponsored well-being benefits such as meditation and yoga;
  • Offering unlimited vacation (easiest where jobs are more outcome-based so performance can be monitored in an ongoing way by employer and employee).


What can we do to ensure that “flexibility” doesn’t mean boundary-less work days?


Part of the technological impact of the Future of Work derives from the advent of smartphones, powerful, low cost laptops, and widespread broadband WiFi. Together with powerful communication and collaboration software, people can work from anywhere, at any time, including being able to continue to receive and answer emails at all times of the day and night. At the same time, social media activity often takes place during work time. Previously, the physical boundaries of offices meant it was easy to delineate when work started and ended. This is clearly no longer the case.

Instead, individually-relevant work hours need to be delineated thoughtfully, respected by company executives and management, and followed by employees. It is all too easy to send out emails during the evening or over the weekend, when a response is neither urgent nor necessary. This creates pressure, perceived by the recipient, of the need to respond, and then unhealthy habits form and are hard to break. Bottom line: Employees need sufficient leisure time on a daily basis in order to be able to be productive, and they need to take all their annual vacation time. This is a major issue in the U.S., with 429 MILLION vacation days going unused each year.

It is critical that the policy and the example is set at the top of the company in order for the message and practice to be consistent. This allows employees at all levels of the company to act in corresponding fashion. At the same time, entrepreneurs and freelancers also need to create personal and professional boundaries proactively. Self-determination and self-discipline are key characteristics of successful workers in the Future of Work environment.

Sophie Wade is the Founder and Future of Work Strategist of Flexcel Network, which provides strategic consulting services to corporations to help them make the necessary significant transition to the imminent “Future of Work” environment. Flexcel Network also helps employees and independent workers adapt and start proactively managing their new latticed and or diversified careers.

Sophie has lived and worked in Asia, Europe, and the U.S., assisting entrepreneurs and major corporations with identifying, developing, and executing strategic initiatives, building teams and ventures and creating partnerships. She writes and speaks regularly about the Future of Work, career transitioning, and portfolio careers, as well as flexible working. Sophie has a BA from Oxford University in Chinese and an MBA from INSEAD.


FT33 is a restaurant in the Design District of Downtown Dallas, located at 1617 Hi Line Drive Suite 250. The rustic-chic restaurant is tucked away in one of the plazas around the area- a hidden gem. Decorated with woodwork and metal accents, the restaurant features an open kitchen and full bar. In addition to the trendy atmosphere, the food is incredible. Matt McCallister, Chef of the Year in 2013, is the head-hauncho of the kitchen and he’s not afraid to get creative.

FT33 is a farm to table culinary experience, from the in-house made cocktails to fresh products from local agriculturalists. Even the wood that decorates the interior is from a 19th century stable at Sterling Ranch at Hodges Ranch in West Texas. But this isn’t the most impressive aspect of the FT33 experience. I was immediately seated at a comfortable wooden table upon arrival. The room was full; waiters paced from kitchen to table, taking the time to converse with hungry diners. I spotted Matt from behind the open kitchen. The room was dimly lit, but the kitchen spotlights highlighted his face. Hard at work he swiftly and gracefully motioned to his crew. Dish rag in hand and with crossed eyebrows, he was in his element directing. This was his stage, he was the conductor and I was his audience. Orders were relayed between men and women; Matt decorated dishes, correcting his mistakes with the rag.

“I’m a horrible expeditor,” McCallister told Dallas Magazine. “I’m real ADD, and it’s best I plate and execute the food and watch the tables. I use vodka because it works best on getting any spots off the plates.”

The menu is small, making for a love-it or hate-it experience. From the turnip appetizer to the main course chicken, FT33 had my taste buds Ooo-ing and Ahh-ing. I was particularly impressed with the seasonal vegetable composition. Five vegetables served five different ways. The dish was served on a large beautiful slab of finished wood. Balsamic glazed carrots perched on top of carrot purée decorated with carrot shavings and a carrot chip. Next were the celery root, broccoli, sweet potato and onion, all served in the most creative forms dressed with delicious spices and oils. Dallas local or vacationing visitor, the FT33 experience puts you in a delicious world while encouraging your adventurous pallet. Five stars and bravo for FT33.

FT33 is open Tues-Thurs 6-10 p.m. for dining and 4:30-11 p.m. for the bar, Fri-Sat 6-11 p.m. for dining and 4:30-12 a.m. for the bar.

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From left to right: Turnip. Spring herbs and greens. House made yogurt // Matt McCallister // 3rd Coast Catch, Kale, Button Mushrooms, Roast Chicken Jus…. via FT33 Instagram

Steve Forbes

The SMU Chapter of Young Americans for Freedom and I hosted our lecture event last night with, world-renowned financial expert and political commentator, Steve Forbes
It was part of Young Americas Foundations nationwide Wendy P. McCaw Freedom Lecture Series, and was live-streamed across the country. 
The title of Mr. Forbes’ lecture was Redistribute THIS! The Superiority of Capitalism.” He refuted the growing anti – free enterprise sentiment in America, and explained how capitalistic free market principles have been and willcontinue to be instrumental in Americas economic success. 
Live stream here:
SMU Young Americans for Freedom would like to thank the Cox School of Business and the ONeil Center for Global Markets and Freedom for their generous co-sponsorship of this event. 
Young Americans for Freedom and Young Americas Foundation are affiliate organizations dedicated to inspiring the next generation of Americans with the successes of common-sense conservative principles. 
Here is a recap of the event…written by Sawyer Smith

Steve Forbes, the CEO of Forbes Media, gave advice about Capitalism to students and the public in Dallas on Tuesday evening at Southern Methodist University.

The event was sponsored by Young America’s Foundation and carried out by their on-campus student chapter affiliate, Young Americans for Freedom (YAF). The SMU YAF chapter advocates conservative values and principles at their school. With the help of the foundation, student leaders chose Forbes to address “the Superiority of Capitalism” as an economic model.

“Free-markets are moral and big government is not,” Forbes said. “On one side there is great philanthropy, and on the other, commerce.”

The publishing giant, who is known for his policy focus toward business and economics, based his presentation on the belief that true free markets only provide something another person wants. And that voluntary exchange, as found within the capitalistic system, meets the needs and wants of other people. “It encourages cooperation and creates supply chains. You may not love your neighbor, but you certainly want to sell to them,” said Forbes.

Forbes is remembered in recent political history for his two campaigns for the U.S. presidency in 1996 and 2000. Seeking the Republican nomination both times, Forbes’ platform was built on conservative fiscal policy and monetary reform. He has advocated for the flat tax and free enterprise solutions in healthcare.

Tuesday night, he laid out three policy changes that he said must be achieved to reboot and save the American economy. Those were to repeal Obamacare, stabilize the dollar and address the role of the Federal Reserve, and drastically cut taxes.

Forbes, who regularly speaks on behalf of Young America’s Foundation, was hosted by SMU YAF founding chairman, sophomore Grant Wolf.

“Seeing that sentiments amongst young people are often unfavorable toward capitalism, we feel that now more than ever is an important time to bring someone here to explain it properly and answer tough questions. Who better than Steve Forbes?” Wolf said.

At least a few hundred attended the speech and the audience was split between students and other guests. Nicole Hoplin, who is the Vice President for Young America’s Foundation, traveled from the Northern Virginia headquarters to be present. She focuses on development for YAF to help fund the promotion of conservative ideology at colleges and universities around the country.

“Investing to teach conservatism to young people pays great dividends to future generations for freedom,” Hoplin said.

The SMU YAF chapter plans to bring more speakers to the school in the future, Wolf said.

“There’s been lots of discussion and debate here about racial tensions, and too, relations with Israel,” Wolf said, “but tonight was a great opportunity to focus on the morality and successes of capitalism.”

The Editor-in-Chief of Forbes Magazine concluded his lecture with a Q & A session. He left the crowd with thoughts for considering that markets are like people. “Are free-markets perfect? No, because they’re man made. But, if allowed to operate, they always turn scarcity into abundance and luxuries into commodities. The glory of the marketplace is that if you don’t serve and produce adequately, you will fail.”

Steve Forbes gives advice on capitalism

Lunch in the “East Hampton”s

Stop by East Hampton Sandwhich co. in Snider Plaza for a quick yummy bite!   

Honey Grilled Chicken Salad // herb marinated chicken breast, romaine, seasonal tomato, sweet onion and bourbon mustard dressing 

New England Clam Chowder // harbor banks clams, roasted potatoes, herbs and black pepper 

Water with Lemon// stay hydrated in the spring heat! 

Strut into Spring in these!

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From left to right…

The Pamela Heel by SENSO // 180

The Tassel Heel by Stuart Weitzman // 398

The Reagan Sandal by Dolce Vita // 140

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The Bitsie Sandal by Jeffery Campbell // 110

The Starla Sandal by Loeffler Randall // 195

The Scoglio Sandal by CoRNETTI // 250


Happy Easter!

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This devotion is taken from She Reads Truth, a website and daily devotional site created and curated by a group of women devoted to spreading the Word of God.

He is Risen! Happy Easter.

Text: Matthew 28:1-15Luke 24:13-49Psalm 16:9-11

Over the course of the past week, known as Holy Week, we have slowed our pace, walking in real-time through the events leading up to Easter Sunday. Today we come to the glorious pinnacle of our journey—Easter Sunday! Special thanks to our friend, Pastor Russ Ramsey, for leading us through this week’s text.


He is risen!

Early on this Sunday morning during Holy Week, some of Jesus’ friends set out to His grave to anoint the body of their friend and teacher. But when they arrived, they were greeted by what one of the Gospel writers calls “a man dressed in lightning.” He told them Jesus was not there, as He said. He had risen (Matthew 28:1-6).

Every instance in Scripture where an angel meets with people involves a human response of fear. This encounter was certainly no different. This meeting Easter morning mirrors when the angel appeared to the shepherds outside Bethlehem to tell them that a Savior had been born unto them. To the shepherds, the angel came to announce that Jesus had come to them (Luke 2:8-20). To the women at the tomb, the angel came to tell them He had left them—but that He would appear again to them soon (Matthew 28:7).

Jesus’ resurrection opened a door between the fallen, groaning world into which He was born and the renewal of all things (Romans 8:22). That door was a stone rolled back by the very finger of God from the mouth of a grave outside of Jerusalem (Matthew 28:2).

Jesus Christ, God’s eternal Son, present at creation, came in the flesh to be the mediator between God and man. He lived the life of perfect righteousness that all people have failed to live. He died as a lamb led to the slaughter, offering Himself up as the perfect sacrifice to atone for the sins of the world, once and for all. He rose from the grave defeating death itself (1 Corinthians 15:54). Bearing all authority in heaven and on earth (Matthew 28:18), He lives as the appointed heir of all things (Hebrews 1:2). Jesus rules over every corner of creation, putting every enemy under His feet, while making alive—by His grace through faith—those who were dead in their sins (Romans 6:11).

If Jesus has not risen, those who trust in Him are to be pitied because their hope extends no further than their wishful thinking. Their faith is futile, and they remain in their sins (1 Corinthians 15:16-19). But if Jesus has risen, then His disciples are born into a new hope—because just as death entered the world through one man, Adam, now resurrection has done the same through the incarnate Son of God, who has prevailed over the power of the curse (Romans 5:12-17).

The last enemy, death itself, has been destroyed (1 Corinthians 15:26).

No one took His life from Him. He laid it down (John 10:18). He laid His life down for His flock, His people. And He laid it down only to take it up again. The point of the cross was not to die, but to die and rise again, defeating the prowling wolves of sin and death themselves.

Jesus said, “I have authority to lay my life down, and I have authority to take it up again.” And this is just what He did. Easter says of Jesus, He meant it! He meant to lay down His life for you! And as sure as He has taken it up again, He knows you!

written by Russ Ramsey
adapted from Behold the King of Glory


Go Out More Often

Eventbrite, the largest self-service ticketing platform, is trying to end the concept of FOMO-Fear Of Missing Out and encourage people with the concept of GOMO – Going Out More Often. This means spend time and money on experiences rather than staying at home to “Netflix and Chill” (although that’s okay too, sometimes). More importantly, find an event happening this weekend, grab a buddy or two and go experience something new!

Here are a few things happening in Dallas this weekend:

  1. Go to the Bishops Arts District for dinner, a movie and the boutique shopping scene.
  2. Screen Shot 2016-03-24 at 4.16.12 PMDallas Grilled Cheese Co. (214) 944-5515. Taking grilled cheese sandwiches to a whole new, wonderful place. 23 craft beers on tap. – 310 W. 7th St.
    Oddfellow’s (214) 944-5958. Breakfast, lunch and dinner menus all showcase farm-fresh ingredients in casual-chic atmosphere. – 316 West 7th St.
    Eno’s Pizza Tavern (214) 943-9200. Farm-to-table ingredients on thin-crust pizza, pastas and more. Many craft beers on tap. – 407 North Bishop Ave. Dallas, TX 75208


    2. Four Corners Brewing co.- FREE tour and beer tasting with reservation.

    423 Singleton Blvd Dallas, TX 75212

    3. Dallas Museum of Art (is always a good idea). Klyde Warren Park, just across the street, is always lined with cool and interesting food trucks!

    • Modern Opulence in Vienna: The Wittgenstein Vitrine 

      11/15/14 to 5/29/16

      | Conservation Gallery

      Modern Opulence in Vienna: The Wittgenstein Vitrine reveals the results of an intensive research and conservation program by exploring the conservation effort and charting the context and history of this masterwork’s design and fabrication, iconography, and provenance. The exhibition also presents new perspectives on designer Carl Otto Czeschka, his work for the Wiener Werkstätte, and the important patronage of the Wittgenstein family.

      Rebecca Warren: The Main Feeling

      3/13/16 to 7/17/16

      | Hoffman Galleries

      Rebecca Warren: The Main Feeling presents over ten years of sculptural innovations by British artist Rebecca Warren through a survey of twenty works from 2003 to the present.

      Spirit and Matter: Masterpieces from the Keir Collection of Islamic Art

      9/18/15 to 7/31/16

      | Focus I Gallery

      Spirit and Matter: Masterpieces from the Keir Collection of Islamic Art is the first exhibition at the DMA of art from the rarely shown and internationally renowned Keir Collection of Islamic Art. The exhibition presents a selection of over fifty masterworks in various mediums and explores thirteen centuries of Islamic art making across three continents, from Spain to Central Asia.

      The great 17th-century Dutch painter Johannes Vermeer created fewer than forty paintings during his lifetime, and Young Woman Seated at a Virginal from 1670–72 is one of his last. This masterpiece is the inspiration for the DMA exhibition Vermeer Suite: Music in 17th-Century Dutch Painting, which includes seven additional loans from the Leiden Collection of works by Vermeer’s contemporaries.


      Visions of Antiquity in the Eighteenth Century 

      3/16/16 to 10/23/16 | Level 2

      Visions of Antiquity in the 18th Century brings together prints, drawings, and objects from the DMA’s collection that reflect the taste for all things Greek and Roman during the 18th century.


Have a great weekend and Happy Easter!



Shout out to my favorite beauty boutique.:) If you’re in columbia, stop by before your plans tonight!

2738 Devine Street,

Columbia, SC 29205
803 254 5051 |

The Striped Top

I’m obsessing over this striped top from Zara. This viscose top is selling for $ 49.90. Dress it up or dress it down; wear to work or out to lunch. In this springtime top, you can do it all!

Style with white skinny jeans and Hermes sandals.

You’re Invited to Hear Steve Forbes!

General Forbes Event Invitation

The SMU Chapter of Young Americans for Freedom invites you to attend their upcoming lecture event with world-renowned financial expert and political commentator Steve Forbes! This prominent event is an installment of Young America’s Foundation’s nationwide Wendy P. McCaw Freedom Lecture Series, and will be live-streamed across the country, in addition to the approximately 600 expected attendees. Admission is FREE and open to both the SMU community and Dallas public!

The title of Mr. Forbes’ lecture is “Redistribute THIS! The Superiority of Capitalism.” He will refute the growing anti – free enterprise sentiment in America, and explain how capitalistic free market principles have been and will continue to be instrumental in America’s economic success. A Q&A session open to all audience members will follow his remarks.

The lecture will take place at 7:30pm on the evening of Tuesday, April 12, 2016, in the Martha P. Mack Ballroom of the Umphrey Lee Center on the SMU campus. The address for this building is 3300 Dyer Street, Dallas, TX. Event parking is available on Bishop Boulevard.

For more event information and for event RSVP if you plan to attend, please visit SMU Young Americans for Freedom’s Facebook page at The official event page with RSVP option and details will be posted at that site.

We are so excited for this event and hope to see you on April 12th!

Baxandall and Drawing Commentary

By Sallie Taylor

Michael Baxandall’s essay, Shadows and Enlightenment, addresses the importance of shadows and their prominent role in creating reason in drawing. He explains three types of shadows or deficiencies: presented, self and differential. In the photograph of the cloth, the presented shadow is seen on the surface of cloth that is behind the folded illuminated triangle, which appears to receive light (see blue, image 1). The triangle that receives direct light intercepts light from reaching the cloth surface behind it, which produces a dark shadow against the convex shape of the cloth. At the bottom left of the photograph, the path of light from the source is above the cloth (see yellow, image 1). The area of cloth that that faces away from the light source is considered self-shadow (see blue, image 1). The darkest section is closest to the neighboring fold on its right. This carries information about the contour of the surface facing the viewer. The slant of the cloth determines the differential shadow (see blue, image 1). As the light travels down the edge of the cloth, the deficiency becomes darker and more prominent; the plane of which the light travels is angled away from the light source. The further away from the light source, the darker the surface (see maroon, image 1).

The light source is ambient and extended, the interaction between light and shadows is soft; there are no sharp or harsh edges seen in the description of shadows, therefore the conclusion that the source is pointed light can be ruled out. Because the light source located at about eleven thirty above the cloth, these shadows is easily visible from which we can concur that the light source of not completely ambient but in fact, extended. This information is conveyed by the soft-edged shadows in contour with harsh light on top of the cloth. In other words, the cloth is most brightened at its peaks, inferring that the light source is above the cloth, and equally illuminated on these parallel planes (see orange, image 1), and the least brightened when the light is perpendicular to such planes (see orange, image 1).

Baxandall demonstrates the concepts of shadows and enlightenment in his explanation of Lambertian surfaces, chalk or the moon reflect diffusely in such a way that they seem equally bright from any angle, powerful factors in the production of ambient light (Baxandall 6). He connects this concept to Lambert’s Law, “the quantity of light reflected by a unit area of surface is proportional to the cosine of the angle between line of sigh and the normal” (Baxandall 6). The cloth is then considered an isotropic surface, which means that the light is reflected equally all around.

Baxandall, in his essay, explains the concept of shadow through the example of the Giovanni Battista Piazzetta figure study. In the figure study engraving of a man (1683-1754), the figure is a shadow demonstration without strong linear edges. Similar to the light source on the cloth, the light on the figure is not from a point source. The lack of sharp-edged shadows indicates this; instead, rounded and soft edged shadows are created from an extended source located at about one o’clock above the figure. The figure of a man encompasses the explained shadow categories. As seen in image 2, he is seen looking downward, standing and leaning with his right elbow perched on a covered boulder by a large fabric. He holds a staff in his left hand and has right leg crossed loosely over the right at mid-calf. The projected shadows are produced by the obstruction of light by objects that interfere with the path on the planes (see maroon, image 2). This can be seen in the shadow of the dark background, or the cast shadow of the figure. Self-shadows are represented blatantly in the lower right body, propped arm and outer side of the locked leg (see red, image 2). The shadow down the straight leg is significantly dark on the left half, which contours against the rest of the leg and carries information about the contour of the surface facing the viewer, the front of the thigh. This is self-shadow by reflected light. (Baxandall 14) (see blue, image 2). Differential shadows are seen on opposite sides of the figure, which are caused by the slants and tilts of the planes to the angle of the light path (see green, image 2). This is seen prominently in the bent leg; the insides of the thigh and back of the calf catch light (see yellow, image 2). The swell of muscles from the inner thigh to the right side of the knee and behind upper calf that is bent, catch greater light and contrast larger surfaces of muscle swells where darker tones are present. The chest and upper body have less detail in shadow since they are directly under the light source, near-featureless. The body is beautifully presented giving credit to the portrayal of muscle swells and detail where need be.

The photograph and the figure correspond with Baxandall’s reasoning; however, the artist of the cloth sketch did not fully understand the relationship between shadow, light and the subject. The student’s interpretation of the cloth suggests that they understood where shadows should be as a result from a light source but did not fully deliver enough information. The curved triangle fold in the cloth casts a shadow, a progressively darkened tilt shadow as it recedes from the light source (darkest toward the left (see pink arrow, image 3). In the drawing, the shadow is not defined enough to explain this information; the shadow is not a clear depiction of the shadow as seen more accurately in the photograph where we see the crease roll over toward the viewer and the differentiation of the planes are not defined well enough either (see red, image 3). In both the drawing and the photograph, the presented shadows are darkest (the student was correct in understanding this (see green, image 3)). However, the sections that should be illuminated have a darker representation, incorrectly. The space between the fold and the shadow are not depicted in the photograph; the student made this up (see orange circle, image 3). Above the triangle and concave shadow, there should be a crease coming toward the viewer, a convex crease. The student does not represent this well. They almost depict the crease as receding the opposite direction, so in fact, they have the meaning backwards (see red, image 3). Consequently, the order of the drawing has changed from the photograph. The planes seem to run together in the student drawing, creating lack of accurate depth. The student also chose to blend the darkness of the crease with the area above it (see blue arrow, image 3). This is incorrect; the area above the concave crease should be darker than the fold that begins to come into direct light, while still being darker that the more illuminated area of the cloth that is above it. The closer the cloth is to the light source, the more illuminated the area is.

The area below the triangle is a self-shadow created by the area that intercepts the light from reaching that area of the cloth (see light blue, image 3). The self-shadow is not as dark as the presented shadow. The tilted plane on the left of the self-shadow captures more light because of its angle, but it is not as prominently illuminated as the plane of the triangle. This small error affects the entire drawing because it makes the impact of the light source confusing to understand. The dark line across the image conveys that there is a point light source, which is incorrect (see dark green, image 3). All of the folds in the cloth should be soft because of the extended light. The harsh line across the drawing is distracting. The line also does not separate shadow and light, where underneath should be darker (further from the light source) and above the line should be lighter (indicating the illuminated plane is closer to the light source). The lack of tonal difference is ultimately the most misleading aspect of the drawing.

01 Photo for comparison to detailScreen Shot 2016-03-14 at 11.59.08 AM02 Same detail in student drawing Detail01 Photo for comparison to detail

Posted in Art

The James Hotel

The perfect way to end a day in The City! Go to the rooftop of the James Hotel for a drink, sunset and good company.

Minimal and elegant, this boutique hotel attracts the artistically enthused with its glass elevator, rooftop pool and cleverly decorated interior.

Located in the artsy neighborhood of Soho // 27 Grand St, New York, NY 10013


Eat Easy


Lemon Artichoke Chicken, Rosemary Potatoes and Asparagus. This dinner is quick, easy, delicious…and very photogenic!

Pre-heat oven to 450 degrees


Line three pyrex dishes with olive oil.

Place chicken into first pan add juice of one lemon, salt and pepper

Slice up second lemon and place into tops of chicken

Add canned pre-marinated artichoke hearts


Place washed asparagus into second dish

Add salt and pepper


Place washed and diced red potatoes (skin on) into third dish

Add chopped Rosemary and a few sprigs into pan

Add salt (I use Mary Jane’s Mixed Up Salt)


Place all into oven and cook until ready (20-25 min).

Add Pine Nuts to chicken…..salt and pepper to taste.

Enjoy with a red wine! (Josh Cabernet)


Getting some kitten help with flower arranging today!

I’m trying to stretch out the last of my birthday flowers! Greenery and babies breath is always a great vase filler!!

red roses, white roses, pink roses, blood orange roses

Burberry Scarf


 The Classic Cashmere Scarf in Heritage Check in Charcoal // $ 475

From Burberry: The Story of your Scarf

Made in Scotland, your scarf has been crafted from the finest materials using expert methods passed down through generations

Your scarf has been crafted in Elgin, Scotland, at a centuries-old family-run mill with a storied history of making cashmere. It is the last remaining vertical mill in Scotland, and has been working with Burberry for over 100 years.

Teased and Combed

Cashmere is dyed for up to six hours in order to create a rich and vivid colour, before shades are blended together. It is then teased to open up the fibres and combed on carding machines into delicate individual strands, ready to be spun.

Weaving your Scarf

Cashmere threads are spun into yarns of a specified weight, twist and strength. Weaving takes place on complex looms, individually set up for each pattern change in a precise sequence.

Softness and Shine

Washing in local water from the River Lossie, which surrounds the mill, removes leftover oil from weaving. Scarves are then gently brushed on a machine containing multiple rods of natural teasels, lifting the fibres to ensure softness and lustre.

The Final Touches

Cashmere is dried and then fringed, twisting each thread together and adding tension in a back-and-forth movement. The finished product is checked by hand to ensure the highest quality.


A Birthday at the T Room

4510’s boutique kitchen, the T Room, made my special day even more perfect with their yummy menu.

Raspberry Lemonade Champagne Cocktail


Asiago and Parmesan Spread with Empire Bread

Roasted Sweet Potato Soup

Crustless Quiche

Lemon and Buttercream Cake




Glam Glow 

 Glam glow supermud cleansing treatment cleanses pores and leaves complexion feeling fresh and clean! You can literally see the product working while applied to skin. Have brighter and smoother skin in 2016! // $ 6 9 . 0 0

Spanish Retable 

“A triptych is a work of art, usually a panel painting, that is divided into three sections, or three carved panels that are hinged together and can be folded shut or displayed open. It is a type of polyptych, a multi-panel work. The middle panel is typically the largest and flanked by two smaller related works, although there are triptychs of equal-sized panels” (Wikipedia).
The piece I have created is a retable, which is a framed altarpiece or triptych. Retables hang above the altar or communion table as a background to the table in front where crosses, ceremonial ornaments, communion gold and silver dishes and candles are placed. It could also be called an Antependium, which is a hanging decorative piece, usually textile, metalwork or wood, for an altar, lectern, pulpit or table. This retable represents some of the pieces seen in the SMU Meadows Museum exhibit: Treasures from the House of Alba, 500 Years of Art & Collecting. The exhibit includes 140 objects and paintings from the private palaces of the Spanish royal family including works of many famous artists. Works in the collection that relate directly to my retable in particular includes, The Last Supper, Retable of Saint Peter (Retablo de San Pedro) and Retable of Saint Michael and Anthony Abbot.

The Last Supper, a fresco mounted on canvas, was an artistic style preferred before altarpieces emerged in cathedrals in Spain c. 1350. Large paintings on plaster applied to church interior walls were prominent among Romanesque and Gothic church architecture. The Last Supper piece connects with the retable not only in the form of an expressive relief but also in theme of Holy Communion. The scripture written below the scene in the retable is part of the Sanctus from Revelations. The Sanctus is spoken at the conclusion of Eucharistic Prayer in Christianity at the consecration of the bread and wine. This is the practice of Holy Communion in Western Christianity, which is practiced to remember Christ breaking bread of His body and drinking the wine of His blood during the Last Supper before He was crucified.

The Retable of Saint Peter is a dedication to the Virgin Mary as well as to Saints. It was used a gigantic altarpiece in an unknown church in Spain. The large size and complex detail are striking features of the piece. It relates to my piece in structure and positioning of figures in the outer panels. The narrow strips house angels and saints; similarly, Isaiah and John stand inside the narrow strips in my piece. The use of tall panels is an Aragonese stylistic format of retables mayors created as a motif of apse church architecture.

The Retable of Saint Michael and Anthony Abbot is a piece in the Alba collection that is notable for its relatively modest scale, which suggests that it was used in a private worship space and not in the central altar of a church or cathedral. The scale of my retable is relatively small, similar to this piece and intended for display in a moderately scaled room for viewing.

The retable is drawn on extra-large recycled white Bristol paper with the dimensions of 14 inches in height and 17 inches in length. The drawing is the same size, filling the paper completely with the center panel being taller than the outer folds. It has a cream matt finish and set in a wooden frame. The wood and gold symbolize the material and color of the works in the Alba exhibit as it continues the theme of Islamic and Christian art. Gold is an especially important material representing an eternal, transcendent and omnipresent moment. This piece is also modeled after the “Annunciation” altarpiece, created by Simone Martini and Lippo Memmi from Siena Cathedral, c. 1333. The “Annunciation” altarpiece frame was reconstructed in the 19th century and made from Tempera and gold leaf on wood, with center panel dimensions of 10′ 1″ X 8′ 8 3/4″, according to the Galleria Degli Uffizi, Florence.

Religion throughout the ages change accordance to the ruling power while trends in art and architecture adapt to each other and evolve over time. The retable carries great detail as seen in both Islamic and Christian art. It incorporates Islamic architectural motifs and the illusion of ivory from the paper and matte background. It can resemble an Islamic courtly scene by the elaborate dress of the figures, gold container of flowers and the throne. Mosque architectural motifs include lobed arches and scalloped detailing in the pointed gable. The arches could also be interpreted as part of a nave arcade. There are some small capitols with detailing at the points of the arches. The divided three sections replicate the three-dimensional allusion of a niche, from the figures appearing to recess further into the drawing. It also shares elements of a mihrab niche along the qibla wall, a decorated niche in the wall that indicates the direction of Mecca in a mosque. The detail parallels with the extreme decoration in mosques and Christian cathedrals. If the retable were a triptych, the columns would be three-dimensional, an engaged or applied columns. The dimension element in my piece is seen in the drawing but largely from the textured frame. Fair skin, lack of facial hair and long features such as hands, fingers, necks and faces imply that the figures are of Christian faith. Symbols such as Latin and Greek crosses or cruciform shapes indicate Christianity. The lilies in the center and the olive branch that the angel holds are Christian symbols of purity, which symbolize the virginity of Mary. The dove angling downward is the Holy Spirit entering Mary’s heart. The 18-karat gold leaf partially covers the bird to make it appear ghostly or spirit-like. A thin direct line from the dove to Mary’s head indicates the conception of Christ. The dove is displayed inside an Islamic symmetric pattern with nature motifs.

The composition of the narrative or placement of figures in Medieval Spanish art is crucial for conveying their level of importance and indicating of who they are such as saints, angels or holy persons. The central figures are the most holy with brighter halos to suggest their holiness and reverence, the Virgin Mary and the Angel Gabriel, and the persons on the outer edges are the prophet Isaiah and the disciple John. Isaiah is placed deliberately on the left because he wrote the Book of Isaiah in the Old Testament of the Bible. John is placed on the right because he wrote the Book of Revelations in the New Testament. The scripture written below the scene is part of the Sanctus from Revelations. The Sanctus is spoken at the conclusion of Eucharistic Prayer in Christianity at the consecration of the bread and wine. According to scripture, Isaiah and John saw Christ on the throne of heaven and described the angels proclaiming the words of the Sanctus. Both men proclaimed in the Bible, the coming of Christ. In the Old Testament, the birth of Christ was prophesized by Isaiah; in the New Testament, the second coming of Christ after the crucifixion was prophesized by John. The inscription starting from Gabriel’s mouth is the beginning words of the Annunciation, which is said in Luke 1:30 and labeled in the throne detailing. The figures have direction, sense of motion and an emphasis on Mary from the body language of the angel. The three-dimensional details in the fabric suggest the body in action under the robes-Mary sitting and Gabriel kneeling. In contrast, the faces and other small details of the drawing seem two-dimensional.

The figures are not naturalist in features but they are detailed. Stylistically, the piece tells the story of the Annunciation in art by using figures and bodies to convey meaning.