MANUEL: The Rhinestone Rembrandt

The history of his art is as fascinating as the man himself.

Born in 1938, the fifth of eleven children, Manuel Arturo Jose Cuevas Martinez began his career at age 7.  By the 1960’s, he put Elvis in a jumpsuit, created James Dean’s hat, and designed the roses and skeletons insignia of the Grateful Dead.

He has dressed four Presidents and so many stars, it’s almost safe to say, all of them.

At least, the ones he has are the ones we remember…

Michael Jackson, the Beatles, Dolly Parton, Bob Dylan, Johnny Cash, Hank, Madonna, Cher, and countless other legends…

At his shop on Broadway, Manuel is living art: his clothes exquisitely made by his own hand, a mane of silver hair carefully combed into place, and sharp black eyes that scrutinize everything around him.

He is a content man but not a satisfied one.  His next dream is to open an Institute for the Arts here in Nashville where students from around the world can come and learn from the master.

Manuel’s legacy is far from finished.

Olivia Sarratt McCarthy: You lived in LA for so long.  How do you like Nashville?

Manuel: I love Tennessee.  Nashville is my little heaven.  I more than love it.  It’s a beautiful feeling to go home to that peaceful place where you reign, where you can really make a true confession of all your sins.  I had this plush place in California, but California was getting a little too crowded, unpractical, unsafe.  I came to raise my children here…21 years ago…and fell in love.  It’s a beautiful place to live.  I have been in many other cities in many other countries and I tell you, it’s good to come home to our corn fed women!

OM: People know you best for your elaborate costumes for the stars, but you also do other designs.

M: Yes.  We do the “normal” as well, like wedding dresses and gowns for the private sector.  The entertainers are about 40% of my clients.  The private people buy much much more and they have a lifestyle, you know, more, even more than the entertainers these days.  The entertainers are starting to look like mechanics out there.  They could be dressed by anyone, just let them be dressed.   A little respect for your audience, please.   We are doing the first fashion show ever of red carpet gowns here in Nashville, maybe December.  Mine are going to be on pedestals.  They are not going to be worn by any model.  The models will have other things.  Since I do one of a kind pieces, the lady should wear the gown for the first time and the last time…not have been worn by a model.  That just doesn’t work for me.

OM: A Manuel suit can go for $25,000 or more…how do you price your pieces?

M: It’s just about the labor really, the hours of work.   That’s how we measure our pricing.  Nothing is overpriced.  It’s just the time it takes to make them.  Some things might be beautiful and be very low money because of their simplicity and others are totally covered with stones, embroidery, and detail…and take forever to make.  They are super expensive, but, on the other hand, sometimes the simple ones look nicer than the very busy ones.  The people who buy the very expensive pieces are just like me – crazy. They like detail and are great speculators of the pieces that I make.   They look at every little thing from the lining to the stitching…I love those people because they are the ones who keep me in shape, trying to do better every time.

OM: Where do you get your materials?

M: About three places.  All Europe.  Europe has the best fabrics.   They have the best stones.  The rhinestones come from Austria, that’s the only place they come from.   Swarovski is the company…the best.  This company produces the stones in so many colors.  We put them on by hand, one by one.

OM: What is the process to create a Manuel piece?

M: The main thing is to have a concept.  The concept is what really takes time.   What am I going to do for you?   I have to figure out that.  When you come in…what are you wearing and what are you doing?   Are you going to a barbeque or meeting the president?   If it’s a performer, I go see them.   I figure out the person and start from there.  I think the greatness of pairing a one of a kind piece is that you leave it to the designer.

OM: How much do the clients inspire you?

M: For example, this jacket for Little Richard…I’ve been dressing this kid for 25, 30 years.  You know, so, it’s like not a big deal anymore – once you get familiar with their style and their image is totally fulfilled.  They have an image that people do not forget.  You see them and you say, “That’s Little Richard.”  Even from the back only, or his side, or his shadow…you know it’s Little Richard.  That’s what we do with everybody.  Everybody has their own label.  On the label, we embroider their name.

OM: Has technology changed your art over the years?

M: I know that my students are affected by it.  I tell them to draw something and they say, “Well, let me go to the computer and get it.”  I say, “No!  That is an image of a picture.  I want to see an image of your brain.  So, you draw it.”  They say, “How am I going to draw it?”  I say, “I don’t know, but it’s going to look like the one you want to draw, believe me.”  And they try it and they learn.  So, I say, “That’s art.  The other is just an image.”  I do every design myself.  I don’t care what it is.  If they come looking a little crooked, well, that just goes to show you that what you are looking at is really art.  Made by a person.

OM: Who or what is your biggest inspiration?

M: When I dig inside, when I go deep, it is probably the freedom that I have to do as I please with a design.  I was never…well, I got a lot garbage sometimes – like when I made Gram Parsons this outfit back in the 70’s – but art has no limits.   It’s not about laws and controversy.  Art is art.  I made the Rolling Stones outfits with human organs on them…I had no problem with it.   I don’t look at the function of what I do, I just do it.  I just let the pencil go wherever it might.  That freedom is what I’m talking about.   I do what I want, when I want, I love it, and people pay for it.

OM: Who has been your favorite star to dress?

M: The Lone Ranger.  When I was a little kid I used to walk 5 miles to watch episodes of the Lone Ranger.  I had the honor of making his outfits for television.  Clayton Moore was my friend until the day he died, four or five years ago.   I made all his uniforms, his personal clothes…everything.  That’s why he’s my favorite, because of my childhood memories.  What a great honor.  The other kick in the butt that I will never forget for as long as I live…I introduced him to Roy Rogers.  They had worked together many years and had never met.  That was cool.

OM: If you could dress anyone you haven’t already, who would it be?

M: Maybe…all of those that I haven’t!  But I am so busy with the clientele that I have.  When the new ones come in, they are always welcome.  Maybe I should take some time and dress myself a little better!  I make all of my own clothes…since I was 7 years old.  The underwear and the socks are the only things I don’t make.  My kids take care of that.

OM: What’s left? Do you have any dreams unrealized?

M: I am going to create an Institute of the Arts here in Nashville.  A non-profit organization that I have been working on.  Mr. Ray Bell has been so kind to help me…maybe put up the building and the land and all that.  I am very grateful.  It is for students all over the world in their senior year to apply to intern here at the Institute and go out of here with a great history and maybe their own label.  Just teach them the little I know.  That will be the last leg of my legacy…the legacy thing…you know, that will be the last part of that.  My sunset is here and I want to do everything I can to make it flourish, preserve it, and pass it on.

OM: What other parts of your legacy are you particularly proud of?

M: I gave fifty jackets, one to each state of America.   I did one for each state and that group travels all over the country, but this year is resting here.  We’ll move on and keep traveling to show the collection and eventually we will give each state’s museum their jacket.  I wanted to give back to the country.  America gave me an opportunity to reculture my own culture.  All the opportunities I received…I want to give back.  I started the collection in 1986.   It was shown for the first time at the Frist museum in 2003.  They rushed me to finish it.  They showed it for almost a year.   It was a beautiful exhibit.

OM: You have a reputation as quite the Casanova.  What is your current status?

M: Always single and available.  Even when I am in the company of the ladies, I am still available.  Jose Cuervo is my friend and I tell all the lovely young ladies, “Come on down and say hi!”

The Rhinestone Rembrandt, King of Country Couture, legendary Lothario…at the end of the day, Manuel is a simple man.  He pursues his calling with passion and gives us the gift of his efforts.  The freedom he feels, we should all be so lucky to enjoy.  According to Manuel, “it’s always possible…it’s just a matter of making that choice.”

His atelier at 1922 Broadway is a shop, a museum, and an experience.  Or visit his website, www.manuelcouture.com, to learn more about his extraordinary life and career.

by Olivia Sarratt McCarthy