Reborn in beads and lace: Adrina Dietra’s Mourning After

“I’m more so into style than fashion,” says Adrina Graham, creator of Adrina Dietra intimate apparel, which will be shown this month at the Bundy Museum. “I feel like, with style, it’s something that you don’t define, it is the definition of you: it is what you are. And with fashion, when people try to fit things in, it’s like a forced way of life.”

Graham is a CNA, caregiver, physician’s tech, single mother of two rambunctious toddlers, and fashion designer. “It’s definitely difficult, but it’s rewarding because I feel like I’m showing them that no matter what they are doing in life,” she says of her kids, “they can still push towards their passions.”

Recalling her early life, a common thread in her family was an interest in art, but Adrina also reckoned with traumatic events from a young age. “I found my solace in designing clothing.”

After getting her associate’s degree in fashion design at North Carolina State, she transferred to the Fashion Institute of Technology in New York City, where she specialized in intimate apparel. Graham was drawn to that concentration because it was totally new to her, and it involved very intricate handwork. “The more detailed the work is, the more it would help me, because I suffer from depression and anxiety, amongst other things,” she shares. “A lot of [the work I created] touched on that, and it was a way for me to bring out what was in my head.”

The Adrina Dietra aesthetic is ornate and delicate, with an undercurrent of darkness and secrecy. There is a special reverence for lace and embellishments, as well as for the past. “The more intricate something is, the more interested in it I am. I think that’s why I also delve into more historical aspects, because there’s more for me to research, to bring out. With lace, I love how delicate it is, and how you can manipulate it to still be something very structural, very form-fitted; it’s really versatile, almost like an Amazon woman: she’s beautiful, she’s curvy, but she’ll still whup your ass.”

In an age of fast-fashion, Graham looks back, particularly to the Victorian era, for inspiration: “I love research, and researching for my projects kills two birds with one stone. I love how much more attention to detail things were in the past, as opposed to today, [when] everything’s so disposable. I understand the need for disposability and for quickness to create… but I feel like there are certain things that you shouldn’t really skimp on.”

In addition to her intimate apparel, Graham has created The Apothecary, a line of all-natural body care that is packaged as meticulously as her apparel is designed. “I like to use a lot of natural things for [my own] skin care, and then with having children, I don’t want to use harsh chemicals for them. So a while ago, I started creating little things, and it grew from there.” She makes soaps, lotions, bath and massage oils, and bath teas and salts, with more in the works.

Designing intimate apparel has held Graham’s attention, in part because it allows her to explore different ideas of beauty. “I am a very firm believer in different shapes, different sizes, different colors, different textures - there’s not one definition of beauty. And I felt, a lot of times, when I would look at fashion shows and things of that nature - I would love them, but then, in the same light, something always seemed missing or disconnected.”

In past work, Graham has used fashion to illuminate subjects that are often skirted, like bedlam and cannibalism. “I would do a lot of projects that brought out uncomfortable conversations for people, just to get people talking about different things.” This month’s show at the Bundy aims to fill what Graham perceives as a missing piece of the local culture. “It can be a start to creating something that’s kind of got a gap in it, which is the scene here when it comes to fashion.”

She elaborates: “The show is entitled The Mourning After [as in Victorian-era mourning wear]. It was actually an older concept of mine that I continuously came to and let go of, almost like I just never felt it was the time, really, to release it. The whole premise of it is, pretty much, having to fall apart before you can really move forward… like a rebirth within oneself.”

For the show, Graham hopes to “create an immersive ambience, so you can feel as if you’ve walked into a Victorian parlor to see a collection, even though back in those times they generally had little dolls that they would create the garments on and send them around. We have a full team: makeup artist, hair, nails, everything,” most of whom, along with the models, live locally.

A portion of the benefits from the show will go toward Avenue D.I.Y., an all-ages art space in Johnson City. “One of the people who is helping to bring it to fruition is KT Kanazawich [of Habitat Studio],” Graham explains. “She’ll also be doing photography for the show. Her team is getting together this space so that artists have studio space, not only for traditional [visual] art, but also to play music, possibly have setups for lessons and things of that nature. It will be an inclusive art space, and drug-free, alcohol-free -something that will be really good to build in that community.”

The Mourning After: A Vision by Adrina Dietra takes place on Saturday, October 21 at the Bundy Museum, 129 Main Street in Binghamton. Doors open at 6pm, event at 7pm. $7 at the door; partial proceeds go to Avenue D.I.Y., located at 19 Ave. D in Johnson City. Adrina Dietra, the Bundy Museum, and Avenue DIY can all be found on Facebook. Adrina Dietra garments and Apothecary products are also available online through Etsy; Apothecary also available at Tesorina Boutique, 17 Chenango Street Downtown Binghamton, tesorinaboutique.com.