Blackstrad Concert Clothing – Mercedes Smith

Mercedes Smith has served as the Principal Flutist of the Utah Symphony since 2012, having previously held the same position with the Houston Grand Opera and Houston Ballet Orchestras.

Mercedes’ musical journey began early, being accepted as a scholarship student at the Manhattan School of Music at 16, under the tutelage of Michael Parloff and Jeanne Baxtresser. Awarded First Prize in the National Flute Association’s 2010 Young Artist Competition, Mercedes has performed in Carnegie Hall, throughout Europe and Asia, and at renowned music festivals including the Grand Teton Music Festival, Tanglewood, Music Academy of the West, Verbier Festival Orchestra, and Marlboro.

Never one to idle, Mercedes turned the pandemic into an opportunity, obtaining a real estate license and earning an M.B.A. from the University of Utah. Her latest endeavor is the creation of Black Strad, a high-end line of modern concert attire. She resides in Salt Lake City with her husband, violinist David Porter, and three very silly dogs.

---

What sparked the idea for Blackstrad? Was there a specific experience as a performer that made you realize the need for more functional and modern concert attire?

After two decades of performing professionally, currently as Principal Flutist of the Utah Symphony, I’ve encountered plenty of challenges with concert attire. I perform over 100 concerts a year, many of them on a hot stage, so staying comfortable while looking polished has always been a struggle. Recently, the Utah Symphony made a big shift in our dress code, removing both white tie and tails and gender distinctions entirely. Men now wear all-black, just as women have for years, but the change revealed an inequity I hadn’t noticed before.

Men were wearing a very strict uniform of tailcoats, bow ties, and cummerbunds as they performed beside women who were allowed much more leeway with their attire. While some women were wearing very formal evening gowns, others were turning to more casual athleisure-type clothing that provided the ease of movement and breathable fabric they desired. It became clear that musicians faced an unnecessary struggle to find attire that was both comfortable and formal, highlighting the need for modern concert wear that balanced formality with functionality. And that’s how Blackstrad came to life.

Blackstrad is all about “redefining concert attire for today’s musicians.” How do you think concert attire affects a musician's performance, confidence, or connection with the audience?

The spark for Blackstrad came not just from my own experience but also from observing how much clothing can impact musicians of all levels. My teenage stepdaughter came home one day with a choir dress assigned by her school. It was a few decades out of style and stiflingly hot to wear—certainly something she’d never choose for herself given the option. Seeing high school girls perform in restrictive, uncomfortable clothing struck a chord with me—asking adolescents, who are often at a vulnerable stage in life, to wear attire that undermines their confidence can impact both their performance and self-esteem. Many high school and college ensembles are realizing that a non-gendered concert black dress code is not only more inclusive, it’s actually easier for everyone.

Even among professionals, the right attire plays a huge role in setting the tone for a performance. Formal clothing can enhance the professionalism and gravitas of a performance, while overly casual attire can detract from it. On the flip side, traditional formalwear, like tailcoats, can feel outdated and even costume-like, deepening the divide between performer and audience. That’s why I focus on creating attire that balances traditional formality with function—clothing that helps musicians feel confident and connected to their audience without sacrificing their ability to play at their best.

As a musician, you’ve had to balance both formality and practicality in what you wear on stage. What were some key challenges you aimed to address in designing Blackstrad’s pieces?

When designing for Blackstrad, I knew the clothing needed to meet specific demands:

• Be lightweight, breathable, and eco-conscious.
• Stand up to the rigors of professional life with machine-washable and wrinkle-resistant fabrics.
• Balance formality with comfort and freedom of movement.
• Align with standard all-black dress codes.

Formality often comes down to fabric choice. Casual fabrics like cotton jersey might be comfortable but can lack the polished, formal look. On the other hand, traditional materials like velvet or satin can be stiflingly hot under stage lights. After extensive research, I landed on three key fabrics for our initial capsule collection.

One standout is a stretch Lyocell, made from eucalyptus fibers, which is more breathable than cotton and helps regulate body temperature. We paired it with a lightweight satin made from recycled materials and sheer chiffon for maximum airflow.

When it came to design, I wanted to address some surprisingly basic gaps in the market. For example, finding an ankle-length black skirt without a high slit or a long-sleeve dress without cutouts or a plunging neckline is not an easy task. So, I focused on mix-and-match minimalist pieces like long skirts with a tailored silhouette that still have ease of movement while also offering the modesty required by the dress code.

Running a business and performing professionally are two demanding pursuits. How do you manage your time between your role as a founder and your career as a flutist?

It’s definitely a juggling act! I try to stay ahead of my repertoire so that I’m not scrambling to catch up. Early preparation is key. For the business, I automate wherever possible—things like email flows and other repetitive tasks—to free up my time.

I also do my best to set boundaries, like not working past 10 p.m. if I can help it. Starting a business from scratch is intense because you have to build everything yourself, but I’m hopeful that in a year or two, I’ll have a more established rhythm for design, production, and marketing. Eventually, I’d love to delegate more of the operational side and focus on the creative parts, like designing clothes—that’s where my passion really lies.

Looking ahead, what are your hopes for Blackstrad? Are there any future designs or concepts you’re especially excited to share with the musician community?

I’m thrilled about what’s on the horizon for Blackstrad. We’re expanding into menswear next season, and I’m currently working on a prototype for a gender-neutral jacket that I’m really excited about.

My ultimate goal is to make Blackstrad the go-to destination for all things concert black. We’ve already started collaborating with other brands to expand our offerings beyond our in-house Blackstrad brand, including plus sizes, maternity options, and petite fits.

I want every musician to find clothing that not only meets their needs but also helps them feel empowered on stage. When you look good and feel good, you perform your best—and that’s what Blackstrad is all about.