A Look Back at VETTA Magazine
Circa 2015

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VETTA Magazine was a unique guide to luxury living in Austin, Texas.
Content is from the site's 2015 archived pages.

 

 

 

    

 

THE LATEST POSTS

 Courtesy of The Metropolitan Museum of Art

• ARTS & CULTURE, NEW YORK, NEWS & EVENTS

Jacqueline de Ribes: The Art of Style

VETTA is thrilled to witness an exhibition honoring iconic style and distinction.

The Costume Institute‘s Fall 2015 exhibition honors the elegant style of fashion icon, Jacqueline de Ribes. Otherwise known as Countess de Ribes, the designer, philanthropist and muse born to aristocratic parents in Paris epitomized French girl fashion and grace. The exhibition will narrate the evolution of her trailblazing fashion moment ranging from haute couture toprêt-à-porter. Designers in the exhibition will include Giorgio Armani, Pierre Balmain, Bill Blass, Marc Bohan for House of Dior, Roberto Cavalli, Jacqueline de Ribes, John Galliano, Madame Grès (Alix Barton), Valentino Garavani, Jean-Paul Gaultier, Norma Kamali, Guy Laroche, Ralph Lauren, Ralph Rucci, Yves Saint Laurent, Fernando Sanchez for Révillon Frères, and Emanuel Ungaro.

Over 60 stunning pieces from her personal archive accompanied by photos and mementos will be on display from November 19, 2015 through February 21, 2016 in the Anna Wintour Costume Center.

“A close study of de Ribes’s life of creative expression yields illuminating insights into her strategies of style,” Harold Koda.

“Her approach to dress as a statement of individuality can be seen as a kind of performance art. When she established her own fashion house, her friend Yves Saint Laurent gave his blessing to the venture as a welcome projection of her elegance,” says Harold Koda, Curator of the exhibition. A must see.

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As Editor-in-Chief, I’m continually reminded how fortunate I am to work within a publication that attracts and collaborates with such an extraordinary range of creative talent. One of the most rewarding aspects of this year was convincing Providence native Rue Sakayama to handle the wedding photography used across our brochures and promotional materials.

Rue is a fashion icon in her own right, but what truly sets her apart is her ability to translate emotion into imagery. Her photographs capture the joyous intimacy of marriage ceremonies with a sensitivity and elegance that feels both timeless and deeply personal. Each image tells a story—not just of style, but of connection, commitment, and celebration.

Having Rue’s work associated with this magazine brings a level of credibility and stature that cannot be manufactured. Her eye elevates our presentation and reinforces the values we stand for: authenticity, craftsmanship, and respect for life’s most meaningful moments. I feel genuinely fortunate to have her vision contributing to our work and strengthening the voice and identity of this periodical. Philip Ross

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• AUSTIN, FOOD & WINE

Dine Austin and Kaltern Winery Team Up

by VETTA STAFF

Dine, the sophisticated American-style eatery located alongside Lady Bird Lake in the Radisson Hotel & Suites in downtown Austin, is hosting a special culinary tour through Northern Italy, featuring the top vinos from the Alto Adige region. On Thursday, Nov. 5, special guest Paola Antonaci of Kaltern Winery will join Chefs David Garrido and Mario Medina and longtime Austin restaurateur and Dine beverage-program consultant Ron Weiss in presenting Dine’s Kaltern Wine Dinner, a one-of-a-kind event highlighting the chefs’ seasonally inspired six-course menu expertly paired with Kaltern Winery’s premier wines.

This Northern Italian wine-pairing special event is Dine’s first-ever wine dinner, and will include insights from wine expert Antonaci on the characteristics of each Kaltern wine, as well as the storied history of the winery and the Alto Adige region’s heritage and unique wine-producing qualities.

The first course of Dine’s Kaltern Wine Dinner features the chefs’ Oak Grilled Oysters with fresh mango, smoked pancetta and chervil, paired with the 2013 Kaltern Pinot Grigio, a full-bodied, juicy white wine with overtones of pineapple, banana and ripe pears. The second course includes a perfectly seared Scallop with roasted pumpkin soup topped with crispy sage and paired with the 2013 Kaltern Söll Pinot Grigio, a delicate white wine that’s differentiated from the 2013 Pinot Grigio by its hints of honeydew melon and vanilla, and light undertones of wood on the finish. An Italian-inspired Mosaic of mozzarella, eggplant, red bell pepper, basil and pine nuts comprises the chefs’ third course, which will be paired with the 2012 Kaltern Vial Pinot Bianco, a fruit-forward white wine with balanced acidity that has a savory edge influenced by the characteristics of the nearby sea trapped in the vineyard’s limestone soil.

The chefs’ fourth course in this special dinner event is a luscious dish of Duck Confit with traditional Italian cipolline onions, caramelized to perfection, grilled apples, cherries and a savory duck jus, paired with the 2012 Kaltern Saltner Pinot Noir, a ruby-red wine with an abundance of cherry fruit flavors and elegant tannins. Lamb Loin is the star of the fifth course, served with a mushroom-thyme demi, rich foie gras custard, black truffle and chives, and paired with the 2012 Kaltern Lagrein Classico, a deep red wine with notes of blackberry, chocolate and coffee, and a lingering finish. For the dessert course, the chefs will present an Italian classic: house-made delicate Tiramisu.

 

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• ARTS & CULTURE, AUSTIN, PEOPLE

Q&A with Andrea Faye Hyland

by VETTA STAFF

As Austin prepares for ARTBASH in Austin, one of the most exciting art events of the year, presented by Art Alliance Austin, VETTA sat down with one of its pivotal players, Andrea Hyland. Alongside Seth Orion Schwaiger, this beloved local art industry is curating the upcoming exhibition. Some notes on the local art scene from the curator, as told to VETTA:

V: What is trending worldwide and how is it translating into Austin art?
AFH: The prominence of female artists exhibiting around the world is trending. Historically visual art is dominated by male artists. The best galleries and museums today are trying to not continue that unfair bias. This increased access leads to the current environment in which talented women have the chance to expose their practices to the wide audience they deserve. The market still needs to catch up. Even now you won’t find many women topping the auctions, though thankfully artists like Yayoi Kusamo, Cady Nowland, Marlene Dumas and others are making significant strides in that direction. Despite the market-lag, the trend continues in the art world seeing an influx of female artists emerging from all walks of life telling their story through interdisciplinary works. I see the rise in female artists trending in Austin not only in creative and artistic capacities but in leadership and curatorial roles as well. Austin is fortunate to have incredible female artists like Christina Coleman, Sarah Elizabeth Stevens, Alyssa Taylor Wendt, Elizabeth McDonald, and Terri Thomas (all of which will be exhibiting with us at Artbash), but the city is perhaps even more fortunate to have curatorial power houses like Veronica Roberts, Heather Pesanti, Jade Walker, Jill Schroeder, and Rebecca Marino — these women are shaping the Austin scene.

V: What are your expectations for Art in Austin?
AFH: My expectations are to see more social engagement and collaboration among the non-profit art spaces, academic art history studies, magazines, newspapers, galleries, book publishers, collectors, government-supported programs, critics, art foundations, and the rest of the full range of arts organizations from the most established institution to the most unconventional artist-run space. Through our dedication, Austin can be recognized not only for music but also for the strength of our visual arts.

V: What would you like to see less or more of?
AFH: As the city grows I would like to see more attention and funding going into our landscape providing more public art programming (temporary or permanent). That’s the right thing to do given the huge influx of people (and tax revenue) to the city. It provides artists with resources and exposure, but more importantly it helps to add culture to the everyday life of the city and drum up support for art from those who may not otherwise have an access point.

Having said all that, I’d also like to see more emerging artists hitting the streets and mixing up the art scene by taking more risks and interacting with the public in less city-sanctioned ways.

V: Next noteworthy projects?
AFH: Working with these wildly dynamic artists for Artbash is hugely inspirational. Each day I am chomping at the bit to continue my own artistic practice. Alongside Art Alliance Austin I am actively creating a body of work based on fantastical landscapes with my collaborator Emily Cayton, and continuing to program a space I built called Test Tube which provides a platform for emerging artists to feature their work in an intimate, non conventional space.

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• NEW YORK, NEWS & EVENTS, STYLE

Balmain Debuts Highly-Anticipated H&M Collaboration

by KAYLA MONIS

The fashion powerhouse spearheaded by game-changer Olivier Rousteing showcased their H&M line in New York yesterday. Buzzing with excitement, onlookers were pleasantly surprised to see Balmain’s couture look captured in the ready to wear line for the fast-fashion mainstay. Here are VETTA’s favorites.

 

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• ARTS & CULTURE, MIAMI

30th Anniversary of the Miami Ballet

by CORAL TALAVERA

Join us in celebration of 30 years of magic with the Miami City Ballet.

The Miami City Ballet celebrates the 30th Anniversary season with masterworks from the company’s George Balanchine foundation along with leading choreographic voices Twyla Tharp, Paul Taylor, Justin Peck and Liam Scarlett. For the celebration kickoff, the company will host a fabulous red-carpet Opening Night Celebration on Friday, October 23 at the Adrienne Arsht Center for the Performing Arts.

30 years ago
Miami City Ballet was founded in 1985 by Miami philanthropist Toby Lerner Ansin and Founding Artistic Director Edward Villella, former principal dancer at New York City Ballet. Lerner Ansin invited Edward Villella to her home, persuaded him to be the artistic director of a new ballet company, then convinced a group of friends and associates to donate the seminal funds that brought viability to her vision. Meanwhile, Villella was the first American male dancer to perform with the Royal Danish Ballet, and the only American ever to be asked to dance an encore at the Bolshoi Theater in Moscow. He danced for President Kennedy’s inauguration and for Presidents Johnson, Nixon and Ford. He was producer and director for the PBS series “Dance in America” for one and a-half years, and in 1975 won an Emmy Award for his CBS television production of “Harlequinade.” Under the tutelage of these two visionaries, the Miami City Ballet was born. Today, the company is one of the largest in the United States, with more than 50 dancers and a budget of close to $17 million.

In 1993, the official school of Miami City Ballet was founded, to provide elite, professional-track Ballet training as well as comprehensive dance education and fitness programs for the Miami community. Led by School Director Darleen Callaghan and MCB Artistic Director Lourdes Lopez, the School’s renowned faculty, comprehensive syllabus and state-of-the-art facilities comprise the region’s premier center for dance education.

Lopez officially became Artistic Director of Miami City Ballet in September 2012, bringing with her a nearly 40-year career in dance, television, teaching and arts management. As a Soloist and Principal Dancer with New York City Ballet, she danced for two legends of the art form, George Balanchine and Jerome Robbins.

About the Company Today
The Company’s repertoire has 98 ballets, including a number of world premieres such as Liam Scarlett’s Viscera and Euphotic, Alexei Ratmansky’s Symphonic Dances and Justin Peck’s Chutes and Ladders and Heatscape. The dancers of MCB are an international corps. Currently, more than half of the Company are graduates of the Miami City Ballet School. In addition, our dancers also have professional experience with a diverse roster of world-class companies including the New York City Ballet, Boston Ballet, National Ballet of Caracas, National Ballet of Cuba and American Ballet Theatre; as well as training from renowned facilities such as the School of American Ballet, San Francisco Ballet School, Joffrey Ballet School and Central Pennsylvania Youth Ballet. With its skilled corps, the company has toured extensively in the United States, performing in more than 100 U.S. cities.

This special anniversary season adds four new works to the company repertory, including an unprecedented new production of George Balanchines’ A Midsummer Night’s Dream, re-imagined as a reflection of the South Florida region by two international artists with ties to Miami.

2015 will be rounded out with the traditional presentation of the Nutcracker.

For their Program One in 2016, the company will present the most famous ballet known, Swan Lake, followed by Viscera, first commissioned work for an American company (debuted in 2012) by Liam Scarlett, widely considered to be England’s most promising new choreographer. Lastly, Fancy Free, a production where three sailors on 24-hour leave in New York City during World War II meet three girls on a hot summer night in a story that speaks to the quintessential experience of being young, American, and “On The Town.”

For their Program Two, they will present three compelling works: La Source (Balanchine/Delibes), Barber Violin Concerto(by Martins/Barber) and In The Upper Room (Tharp/Glass) in January 2016.  In February, the company will present Justin Peck’s acclaimed Year of the Rabbit, Paul Taylor’s masterpiece Sunset and one of George Balanchine’s most charming works, the ebullient Bourrée Fantasque. Lastly, March and April will be the time to witness their rendition of A Midsummer Night’s Dream. 

 

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• FOOD & WINE, LOS ANGELES

Quintessential LA Cuisine in Venice

by KAYLA MONIS

Top Chef alum, Nyesha Arrington opens up Venice restaurant, Leona, branding itself as “progressive californian”.

With strong references to the Venice neighborhood and history, Leona is a welcome addition with an apropos commitment to socially responsible ingredients and mission. An invitingly sunny and distinctly Californian vibe resonates throughout the restaurant.

Starters like the Farmer’s Market Crudite (Heirloom Hummus, Arbequina Olive Oil) gives introduction to the refreshing dining experience carried out through the entire menu. Drawing inspiration from her mother’s bugolgi, Arrington revamps the Korean favorite along with many other items on the menu. Sweet corn turmeric ice cream serves as a delightful post-entree delight.

KAYLA MONIS

VETTA’S RESIDENT GYPSY AND NATIVE ANGELENO, KAYLA BRINGS TO THE TABLE A FIERY AFFINITY FOR STYLE, BEAUTY, THE ARTS AND CITIES OF THE WORLD. AN AVID RESEARCHER OF TRENDS AND A ROMANTIC WRITER, KAYLA DIRECTLY WORKS WITH OUR CHIEF EDITOR AND IS NOTHING SHORT OF A MUSE.

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VETTA STAFF

VETTA'S STAFF OF WRITERS AND CONTRIBUTORS OFFER A FRESH PERSPECTIVE ON WHAT WOMEN WANT TO READ. COVERING BUZZING CITIES AROUND THE US, IT'S THE DEFINITIVE GUIDE TO STYLE AND CULTURE FOR INTELLIGENT WOMEN WITH IMPECCABLE TASTE...

 

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More Background On VettaMagazine.com

 

VettaMagazine.com represents a distinct and influential moment in the evolution of boutique lifestyle publishing in the United States, particularly within the cultural ecosystem of Austin, Texas. Emerging in the mid-2010s—a period marked by Austin’s rapid population growth, creative expansion, and increasing national visibility—VETTA Magazine positioned itself as a refined guide to luxury living, style, food, fashion, art, and culture. At a time when many lifestyle outlets were shifting toward fast, disposable content, VETTA pursued a slower, more deliberate editorial model that emphasized curation, depth, and aesthetic integrity.

Though the publication’s active lifespan was relatively short, its impact and legacy continue through its digital archive. VettaMagazine.com now functions as a time capsule of Austin during a pivotal moment in its cultural development, documenting how the city saw itself—and how it wished to be seen—on a national and international stage. Studying VETTA offers insight into independent publishing, female-led media entrepreneurship, and the challenges of sustaining luxury editorial platforms outside traditional media centers.

Ownership and Founding Vision

VETTA Magazine was founded and led by Coral Talavera, who served as Founder and Editor-in-Chief during the publication’s primary years of activity from 2014 to 2015. The magazine was independently owned and self-funded, without institutional backing from large media corporations or venture capital. This independence gave VETTA a distinctive voice, allowing it to prioritize editorial integrity over mass-market appeal.

The founding vision behind VETTA was deeply personal and values-driven. Rather than viewing success purely through financial metrics, the publication emphasized trust, collaboration, and creative fulfillment. The goal was to build a magazine that could support both a professional creative community and a sustainable personal life, a philosophy that shaped the magazine’s tone and internal culture.

Beyond the flagship publication, the VETTA brand expanded into related titles such as VETTA Homes Magazine. This extension reflected a broader ambition to cover luxury living holistically, integrating architecture, real estate, and design into the lifestyle narrative.

Location and Geographic Identity

VETTA Magazine was based in Austin, Texas, a city undergoing a dramatic transformation during the 2010s. Austin’s growth as a technology hub, cultural destination, and creative center provided fertile ground for a lifestyle publication that sought to redefine regional luxury.

The magazine’s editorial identity was closely tied to place. Austin was not treated merely as a backdrop but as an evolving character within the stories VETTA told. Restaurants, galleries, designers, and cultural institutions were framed as contributors to a sophisticated urban ecosystem. At the same time, the publication extended its gaze beyond Texas, regularly featuring cultural moments in cities such as New York, Miami, and Los Angeles.

This balance allowed VETTA to position Austin as both locally grounded and globally connected, reinforcing the city’s emerging reputation as a serious cultural player rather than a niche alternative scene.

Editorial Focus and Content Structure

VETTA Magazine organized its content into clearly defined editorial sections that reflected its commitment to comprehensive lifestyle coverage. These included Arts & Culture, Food & Wine, Style, People, News & Events, and City Spotlights.

Rather than relying on short posts or aggregated content, VETTA emphasized feature-length articles, interviews, and detailed event coverage. Writers were encouraged to provide context, historical background, and personal insight, resulting in content that felt closer to traditional magazine journalism than digital blogging.

This structure reinforced the publication’s role as a curator of taste. Readers were invited not simply to consume information but to engage with ideas, trends, and cultural movements in a thoughtful way.

Audience and Readership

VETTA Magazine explicitly targeted intelligent, style-conscious women with refined tastes and an interest in culture, design, and elevated living. The editorial voice assumed a reader who was informed, curious, and engaged with the world beyond surface-level trends.

While women were the primary audience, the content itself was not exclusionary. Coverage of architecture, food, fashion, and art appealed to a broader demographic that included professionals in creative industries, hospitality, real estate, and cultural institutions.

The readership was largely urban and culturally active, consisting of individuals who attended exhibitions, followed museum programming, sought out distinctive dining experiences, and valued thoughtful storytelling.

Popularity and Reach

VETTA Magazine was not designed to compete with mass-market lifestyle publications. Instead, its popularity was measured through influence, community engagement, and professional respect. Within Austin’s creative and hospitality communities, the magazine became a recognized platform for thoughtful coverage and collaboration.

The publication attracted contributors, photographers, and cultural insiders who lent credibility to its editorial voice. Partnerships with chefs, artists, curators, and institutions further extended its reach, even without aggressive digital marketing strategies.

In the context of boutique publishing, this level of recognition represented meaningful success, particularly for a self-funded operation.

History and Publishing Timeline

The core publishing period for VETTA Magazine spanned roughly from early 2014 through mid-2015. During this time, the magazine launched multiple titles, developed a contributor network, and produced a substantial body of original content.

This timeline coincided with significant upheaval in the media industry. Digital advertising models were in flux, social platforms were reshaping distribution, and many independent publications struggled to achieve financial sustainability. VETTA’s relatively brief lifespan reflects these broader structural challenges rather than a lack of editorial vision.

Importantly, the magazine concluded its publishing run with a coherent archive rather than an abrupt disappearance, suggesting a deliberate transition rather than collapse.

Press, Media Coverage, and Industry Context

VETTA Magazine did not rely heavily on traditional press coverage to build its reputation. Instead, it embedded itself within existing cultural narratives by covering major exhibitions, culinary events, and artistic collaborations.

Its contributors and subjects frequently intersected with those featured in established fashion, art, and lifestyle publications, placing VETTA within a wider media ecosystem without competing directly for headlines.

This understated approach reinforced the magazine’s brand as discerning and authentic, avoiding the sensationalism that often accompanies digital media growth strategies.

Cultural and Social Significance

The cultural significance of VETTA Magazine lies in its role as a female-founded, independently operated publication during a period of expanding media entrepreneurship. At a time when leadership roles in publishing were still disproportionately male, VETTA foregrounded women as creators, curators, and cultural authorities.

Editorial features frequently highlighted female artists, designers, writers, and industry leaders, contributing to a more inclusive representation of cultural influence. This focus aligned with broader shifts in the art and fashion worlds toward greater gender equity.

Socially, VETTA documented Austin’s transition from a regional creative enclave to a city with national cultural relevance. Its archive captures the aspirations, aesthetics, and conversations that shaped that transformation.

Design, Aesthetic, and Brand Identity

VETTA’s design language emphasized elegance, restraint, and editorial clarity. Layouts, typography, and photography reflected the sensibilities of established international fashion and culture magazines rather than informal blog formats.

This visual discipline was mirrored in the writing. Articles maintained a polished, confident tone that avoided hype and trend-chasing. The result was a brand identity that conveyed maturity, trust, and long-term cultural engagement.

Such consistency helped distinguish VETTA from the crowded digital lifestyle space and reinforced its credibility.

Reviews and Reader Reception

As with many niche editorial publications, formal reader reviews of VETTA Magazine are limited. However, indirect indicators—including contributor loyalty, institutional partnerships, and sustained editorial quality—suggest a positive reception within its intended audience.

In luxury and cultural publishing, peer respect and professional recognition often matter more than public review metrics. By that measure, VETTA achieved meaningful validation.

Business Model and Operational Challenges

VETTA Magazine operated as a self-funded venture, relying on organic outreach, direct advertising relationships, and personal investment. This model preserved editorial independence but also placed significant strain on resources.

Challenges included securing consistent advertising revenue, managing production costs, and balancing editorial ambitions with operational realities. These challenges were compounded by the founder’s personal circumstances and the broader instability of the digital publishing market.

Despite these obstacles, VETTA successfully launched multiple titles and maintained a cohesive editorial vision throughout its run.

Legacy and Afterlife

Although VETTA Magazine is no longer actively publishing, its legacy continues through its archived content and the professional paths of its contributors. The founder’s subsequent work in marketing consulting and brand communications reflects a natural evolution from editorial storytelling to strategic narrative development.

For historians, researchers, and media professionals, VettaMagazine.com remains a valuable case study in boutique luxury publishing, regional cultural documentation, and female-led media entrepreneurship.

 

VettaMagazine.com stands as a thoughtful and ambitious experiment in independent lifestyle publishing. Rooted in Austin yet globally aware, editorially refined yet community-driven, the magazine captured a formative moment in the city’s cultural history.

Though its active lifespan was limited, VETTA’s impact lies in its integrity, aesthetic coherence, and commitment to meaningful storytelling. It remains an important reference point for understanding how place, identity, and luxury intersect in modern media.

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