Recipe for Health: Alas, A Simple Solution to Eating Well

I have previously mulled over the implications of treating health more like wealth. Today, I want to mull over the implications of treating health more like paella.

Don't worry--it will make sense in the end! If I may borrow from The Best Exotic Marigold Hotel, if it doesn't make sense, it's not yet the end.

It's a rare day that I don't do at least one interview about nutrition and dieting for a magazine, radio station, TV show, or website. In the weeks leading up to the holidays, the volume of such media requests only grows. We are, it seems, permanently preoccupied, and seasonally obsessed, with what to eat, how much, and how to fix the damage done when we get both of those wrong, as happens all too often.

The odd thing is not the number and frequency of these exchanges; I suppose, in a society struggling so to eat well and control its weight, that's perfectly understandable. The odd thing is that to justify so many stories in so many media outlets so much of the time, every one of them has to pick a different focus. Or, if you will, choose a different "active ingredient."

It might be cutting dietary fat--once, the far most popular approach to "dieting," then maligned as yesterday's news, if not misguided nonsense, and now back on the agenda, courtesy of at least one recent study in the British Medical Journal. And if that is the topic, I am asked: Does cutting fat help with weight loss? Is it good for health?

It might, instead, be cutting carbs--in the form of the original Atkins Diet, now often maligned as yesterday's news even by those who once embraced it, or an updated version of it that pays a bit more attention to varieties of fat. There's also the plant-based Eco-Atkins approach, or the true original: the Paleolithic Diet. And if that is the topic, I am asked: Does cutting carbs help with weight loss? Is it good for health?

It might be going vegetarian. It might be going Mediterranean. It might be lowering the glycemic load. Pick anything you like.

I don't pick any of these, actually. But we'll get back to that.

For now, imagine if, as a society, we were totally preoccupied not with cooking up good health and good looks, but, say ... paella. Let's pretend that what we all want to do is make the best darn paella possible (if that were the case, by the way, you'd be out of luck, because my wife's aunt is the winner!).

Well, then, I suppose every morning show and magazine would need to run stories about paella. And since those stories would need to be different enough from one another to justify their number and frequency, they would each have to pick a different ingredient.

There would be stories only about the rice. And those stories wouldn't mention any other ingredients, as if rice were all there was to it.

There would be stories about the saffron, which, of course, is crucial to good paella. But those stories would fail to mention any other ingredients, as if saffron could stand alone.

There would be stories about the mussels. There would be other stories about the shrimp; still others about the chicken; and others again about the peppers, peas, onions, tomatoes, and the chorizo (we leave chorizo out of ours, for what it's worth).

Your task, then, as the consumer of these stories, is to pick. But of course, you can't really pick. No matter how good the saffron, paella is not made of saffron alone. Nor of rice alone. No one ingredient does a paella make!

You need the whole recipe to make the dish, the quality of which will be a product of the quality of all of the ingredients. The "active" ingredient in paella is ... paella!

As silly as it might be to tell a tale of paella based on just one ingredient at a time, it would still be less silly than our prevailing approach to dietary health. Because there, we don't so much focus on one ingredient to include as we do about one ingredient to exclude. Most stories about diet, weight, and health are about what NOT to eat.

If we devoted ink and electrons to paella in this fashion, there would be stories about why not to put in blueberries, or macadamia nuts, or marshmallows. There could be infinite stories about what not to include in your paella--none of which would really help you make the stuff, would it?

For far too long, we have approached the recipe for health in just this way. I'm not really convinced that 2013 will be the year we stop, but I am at least permitting myself to hope so.

The recipe for eating well involves a variety of real foods, direct from nature, and generally with a shorter life expectancy than your own: vegetables, fruits, whole grains for those inclined, nuts and seeds, beans and lentils. It can include or exclude fish and seafood, some grass-fed lean meats, and organic poultry. It can include or exclude organic eggs and low-fat dairy.

The right recipe for health, like the right recipe for paella, isn't just right with regard to one ingredient--it's altogether good. Eating well is intrinsically rich in nutrients: vitamins, minerals, antioxidants, and fiber. Eating well is low in chemicals, refined starches, added sugars, sodium, and the harmful varieties of dietary fat. Eating well has a low glycemic load. Eating well does not require instructions to avoid foods that glow in the dark; that takes care of itself. In the same way that a good paella recipe naturally omits marshmallows and macadamia nuts, a good recipe for health doesn't need to declare exclusions.

And of course, good paella is delicious. A good diet for health should be, too. With an emphasis on healthful, wholesome ingredients, and the diverse ways to assemble them into a diet customized to your preferences, it should certainly be possible to wind up loving the food that loves your health back.

I practice what I'm preaching here. So, as noted, I don't cut fat or carbs or fructose. I don't focus on lowering my glycemic load or adding fiber. All of these matter--so I eat well, and this all takes care of itself. Including when I enjoy my aunt's paella!

That paella is deliciously defined by what's in it, not what's left out. And it is not just about one ingredient. It's a harmonious blend. The recipe for health is just the same.

Kevin Arpino Plays to a Silent Audience

TALL and tan with a wrist full of jangly silver bracelets, Kevin Arpino shouted into his cellphone in a room full of fashion models.

“We need black pipin’,” he said, his profundo basso voice twisted by Dunhill Internationals and a strong North London accent. “Pipin’!” he repeated.

His assistant on the other end didn’t understand. “Piping,” he added with urgency, stressing the “g.” “For the pillows.”

“Such is the price of being English,” he said, but the models didn’t crack a smile. They couldn’t. They were fiberglass.

Mr. Arpino, 60, was standing in the disarrayed showroom of Rootstein Display Mannequins in Chelsea, where he is the creative director. It was the eve of the Retail Design Collective, a three-day event in early December known informally as Mannequin Fashion Week. Showrooms across Manhattan parade new hands, torsos and life-size figures. And though these models can’t use Twitter or Instagram, there is glamour nonetheless.

The hot ticket was the unveiling of Mr. Arpino’s newest collections, which he presents every year in Rootstein’s showroom on West 19th Street. “This year, it’s going to be all black and white,” he said, his dark eyes glittering. “Just like a photograph.”

Brash and particular, Mr. Arpino, who wears only black and white year-round, is a polarizing and powerful figure in the land of plastic people. Some call him the emperor of the windows. His collections (he usually releases two a year) are bellwethers for the small, tight-knit industry.

Though few outside the industry know Mr. Arpino’s name, his work is seen at all retail levels, from high-end stores like Saks Fifth Avenue, Hermès, Lanvin, Chanel and Ralph Lauren, to mass brands like Zara, Juicy Couture and H & M.

Starting at $1,300, Rootstein mannequins aren’t cheap. The company manufactures 10,000 mannequins a year in factories in Tokyo, London and New York. “I refuse to manufacture in China,” Mr. Arpino said.

Rootstein was founded in 1959 by a South African window dresser living in London named Adel Rootstein. Her innovation wasn’t to cast celebrities as mannequins (Mary Brosnan had made mannequins of Babe Paley in the 1940s) but to use youthful models. Her 1966 mannequin of Twiggy remains a milestone.

Under Mr. Arpino’s stewardship, Rootstein’s collections have been theatrical and occasionally controversial. Previous collections have been devoted to sadomasochism, vegetables and “The Great Gatsby.” In 2010, Mr. Arpino came under fire for his Young and Restless collection, which featured hobbledehoys with 27-inch waists. The Guardian ran a piece headlined, “Skinny Male Mannequins Raise Eating Disorder Fears.”

Mr. Arpino remains unabashed. “If you want to blame someone, blame the designers,” he said, before adding, without apology, “Unfortunately, clothing looks better on tall and skinny people.”

For many shoppers, mannequins are the 50-something women of the fashion world: invisible in plain sight. But for Mr. Arpino, each is a person with a story. “I know all of these girls,” said Mr. Arpino, gently popping off the arm of a mannequin named Tamara. “She’s only 19. She was the runner-up for Miss Russia beauty pageant.”

The process of transforming a living model into a fiberglass mannequin takes a year and a half. Mr. Arpino not only oversees the highly technical production, but also the stylistic direction. It requires one to be finely attuned to seasonal trends — skinny jeans call for skinnier legs, higher heels for more relevéd feet.

Mr. Arpino typically holds castings during London Fashion Week in September. Models sit for hours in little more than a bikini over a three-week period at Rootstein’s studios in West Kensington. “Models are essentially just breathing mannequins,” he said. “So it’s not terribly difficult.”

There they are sculptured into life-size clay models as Mr. Arpino tweaks the poses. The clay models are then made into a mold and cast in fiberglass. “Look at these things,” Mr. Arpino said, knocking one of them hard on the sternum. “They last forever.”

The same could almost be said of Mr. Arpino, who has been in the business for 30 years. “One reason Adel picked me,” he said, “is because I knew who the good girls were because I had worked with them.”

Under his direction, mannequins have been made from Yasmin Le Bon, Dianne deWitt and Pat Cleveland. Recent models have included Agyness Deyn, Coco Rocha and Erin O’Connor. “If they can sell fashion in magazine, they can sell fashion in a store,” he said.

This had been an unusually busy season. Mr. Arpino unveiled three collections this month, which were displayed in various tableaus in his Chelsea showroom.

“These are from the collection Sojourners,” he said, pronouncing it as if it were French. The languid mannequins swanned in repose. “Models are the new Gypsies, you know. These girls are from Poland, Russia, Lithuania.”

The other collections were an abstract line, Lift, and another realistic one called Street Boys. The latter, homeless-seeming, were skinnier than the Sojourners and had scruffy stubble.

Mr. Arpino has shown a knack for identifying emerging beauty and capturing its ascent. But to stroll through the showroom is to acknowledge how fleeting that beauty is. ‘“That’s Irie. That’s Dianne. That’s Joe,” Mr. Arpino said, the mannequins looking as youthful as the day they were cast.

There’s one mannequin that Mr. Arpino has vowed never to make: of himself. “Years ago Adel asked,” he said. “But I’d prefer not. It’s just a little too Dorian Gray for my taste.”

Designer Antonio Azzuolo to Bring His Standout Ready-to-Wear Collection to Charleston Fashion Week 2013

Charleston Fashion Week®announces Antonio Azzuolo will join as a featured designer and a fashion panel member at CFW 2013 (March 19-23). Azzuolo, a 2011 CFDA/ Vogue Fashion Fund finalist and 2012 CFDA Swarovski Award for Menswear nominee, will present his Spring Summer 2013 collection, a.a. antonio azzuolo. He joins Fern Mallis and other fashion industry leaders on the CFW 2013 Fashion Panel, offering advice and mentorship to competitors in the Emerging Designer Competition: East.

a.a. antonio azzuolo, the custom, hand-tailored menswear collection, launched in 2008, drawing an immediate landslide of praise throughout the ranks of international fashion critics at The New York Times, GQ, Style.com, Esquire, and WWD, to name a few - for expert, razor-sharp tailoring alongside contrasting hints of whimsy and nods to street style. His Spring Summer 2013 included unisex pieces, proving he’s got something to appeal to every style.

“There’s a focus on what I do best, the tailored blazer and garment,” Azzuolo has said of his work. “I’m pleased to bring my collection to such a cultural hub as Charleston, and I look forward to being a part of Charleston Fashion Week®.”

Scheduled for March 19-23, 2013, Charleston Fashion Week® will continue its mission to serve as a pipeline to career success for undiscovered talent in fashion design. CFW, in its seventh year, offers aspiring designers exposure and mentorship from fashion industry leaders in addition to producing a professional runway show.

Charleston Fashion Week® 2013 takes place March 19 – 23, 2013. For more information on CFW, Antonio Azzuolo, CFW’s Emerging Designer Competition: East, and to purchase tickets, visit charlestonfashionweek.com. Find @ChasFashWeek on Twitter, Facebook, and Instagram.

About Charleston Fashion Week®

Showcasing fashion designers, retailers, and models, Charleston Fashion Week® has become one of the premier fashion weeks in North America. Named a Top 20 Event for March by the Southeast Tourism Society, this event presents runway shows, interactive entertainment, chic after-parties, and press events. The 2013 event will be held under the tents in Marion Square in Charleston, SC, featuring more than 45 runway shows, the Spring Bridal Show, Emerging Designer Competition: East, and Rock the Runway Model Competition™. Charleston Fashion Week® 2013 is scheduled for March 19-23. www.charlestonfashionweek.com.

Portuguese Model Murder: 20-Year-Old Convicted Of Killing 65-Year-Old Lover

The Portugese model murder in New York City has ended with a guilty verdict against Renato Seabra, the 20-year-old model who murdered 65-year-old lover Carlos Antonio De Castro. The murder between the two Portugese men occurred in their shared InterContinental Hotel room in Times Square almost one year ago.

According to Manhattan District Attorney Cyrus R. Vance Jr.:

“This was a brutal and sadistic crime, where Renato Seabra bludgeoned, choked, and mutilated his victim before murdering him.”

Vance further added:

“But the jury’s verdict now, finally, holds Seabra accountable. It is particularly tragic that Carlos Castro was not only … betrayed by his spurned lover, but met a very painful and violent end far from his home.”

In January 2011 Castro was found brutally murdered in his hotel room, bludgeoned to death and then castrated.

The Portugese model murder (also known as the “boy toy trial’) as it was dubbed occurred because De Castro allegedly broke up with Renato Seabra.

After the murder Seabra took $1,600 from his former lover and hung a “Do Not Disturb” sign on the door.

Seabra was caught after he ran into a friend of Castro’s in the lobby, that friend later testified that Seabra said Castro “won’t be leaving the room.”

On January 7, 2011 Carlos Castro was discovered by a hotel worker. The cause of death was ruled as blunt injuries to the head and neck compression.

The two men arrived in the United States together in 2010.

The Portugese model murder case will draw to a close on December 21, 2012 when Renato Seabra is officially sentenced for his grizzly murder of his former lover.