The Vintage Woman – Identity | Issue 2 by The Vintage Woman Magazine

IDENTITY ISSUE 2 | £5.49

WHAT'S INSIDE BONANZA ISSUE: OVER 200 PAGES – INTERVIEW WITH RACHEL MAKSY • VINTAGE HAIR & MAKEUP TUTORIALS • DRESSING FOR PLEASURE • INTERSECTIONAL FEMINISM T H E O N LY V I N TA G E S T Y L E B I B L E Y O U W I L L E V E R N E E D

WWW.THEPRETTYDRESSCOMPANY.COM @iddavanmunster

WHAT'S INSIDE On the Cover

Exclusive Interviews Style, Allure & the Craft 93

IDENTITY ISSUE 2 | £5.49

An Interview With V.V. Venom

As An Intersectional Feminist

Pronouns & Gender Fluidity In The Vintage Scene

Getting Perfectly Sweet 83

Let's Get Weird 124

Vintage Hair Tutorial By Shurlee Sweet

With Lady Weird

Dressing For Pleasure 86

Style by Death 143

A Brief History Of Fetish In Fashion

A Conversation With Acid Doll Entrepeneurs Talk Passion, Inspiriation & Their Dreams

Identity & the Spirit of Tokyo 191

Ava Gardner Hair Tutorial 138 WHAT'S INSIDE BONANZA ISSUE: OVER 200 PAGES – INTERVIEW WITH RACHEL MAKSY • VINTAGE HAIR & MAKEUP TUTORIALS • DRESSING FOR PLEASURE • INTERSECTIONAL FEMINISM T H E O N LY V I N TA G E S T Y L E B I B L E Y O U W I L L E V E R N E E D

Japanese Rockabilly

Beyond the Fashion Letters from the Editors 5

Jade Stavri-Ratcliffe & Christine Cochrum

The Art of Living Authentically 16 The Best LGBTQ+ Artists

Making Their Mark 36 The Painters In Ink

Ladies of Influence 52

Vintage Instagrammers Spreading Positive Messages

The History of Gossip 60 & Where You Heard It From

Body of Work 64

A Brief History Of Female Tattooing

Portraits of Women with Tattoos 70 A Collection Of Historical Photos

Illicit Liaisons 74

An Exhibition On The History Of Porn

In Touch 121

The History Of Pleasing Oneself

Disability is NOT a Dirty Word 139 How To Be An Ally

Best LGBTQ+ Events 149 By Brandi Pomfret

Under the Influence 161

9 Steps To Becoming Insta Famous

Looking Under the Hood 168 Women & Cars

For the Love of Smut 172 A Brief Insight Into Vintage Erotica

Hidden & Not-So-Hidden 177

Sexualities Of Old Hollywood's Greatest Stars

Woman Of Many Faces

Navigating The Vintage Community 42

I Feel Like a Womxn 105

Diverse Paths to Success 156

Interview with Rachel Maksy 6

By Heather Whitsett

Vintage Makeup Tutorial 202 Wearable Day-Look To Night-Look

All About the Fashion To Be Tied 12

A Celebration of Swerves, Curves & Pervs

Behind the Scenes 26

Brand Review – Reproduction Clothing

Style Ad Infinitum 45

A Look to the Past & Its Expert Tailoring

Hawking Their Wears 74 Instagram Vintage Sellers

Wardrobe Coveting 100

With Sarah from Cheshire Vintage

Smooth Lines, Tight Laces 113

The History Of & How To Wear Them

Everybody Gotta Coat Somebody? 120

Vintage Inspired Coats To Keep You Warm This Winter

All Together Now! 127

Celebrating Diversity

Subversive Surrealism 164 Playing With Reality

Vintage Events Around the Globe 181

A Selection Of Events Where You Can Find Your Fellow Vintage Lovers

If It Suits You 184

Gender Is A Construct, So Style It Out...

More is More 207

Jewels On The Silver Screen

Let's Get Gothed 218

A Collection of All Hallows' Eve Inspired Must Haves

The Deluxe Shop Directory 220

The Best Vintage Sellers Right At Your Fingertips!

Food & Drink

Up, Up & Away 196

Vegan Halloween Recipes 211

Credits 221

The Merry Widow 216

The TWA Hotel

The Vintage Woman Team

Spooky Smoked Chili & Children Of The Corn...Bread A Creepy Cocktail That Looks the Part Without The Fright!

www.vecona-vintage.com

kleid s am es & s ti lvo ll es

Foto: Frauke Bönsch • www.fash.de. Make-Up: Melli Horn • www.melli-horn.de, Haare: Theresia Pistel • www.the-mup.com

Letter from the Editor When putting together the concept of this issue, I thought IDENTITY would be a great theme. There are many identities within the vintage community that I personally do not feel get a voice or an outlet to express their creativity. With this second issue, we are putting a stamp on our own identity. In this issue, we touch on what some people may think of as taboo subjects. Including topics such as how to please yourself and a frank discussion of feminism presented in a way that may be new to you. This is why I started The Vintage Woman. To make sure our community (and I mean the vintage community) is pushing forward, being progressive and talking about the issues that challenge our preconceived notions of these topics.

ow, our second issue is now out! First, thank you for purchasing this issue. It means a great deal to all our contributors and me. This issue has been a real labour of love. Producing over 200 pages I want to dedicate this issue to of fantastic content has been both Clara Holmes. You may know her sheer joy and sheer exhaustion. as Rollin Funky on Instagram.

We were excited to have her involved in our front cover shoot, but sadly, on the way to the shoot, she was hit by a taxi. Luckily, she wasn't badly hurt, just bruised and very shaken up. This meant she missed the shoot, but I want her to know that she is a part of something. So, Clara this is for you. I also want to say a BIG thank you to everyone that was involved with this issue. Thank you for taking the time out of your lives to help put this together. I especially want to thank my second in charge, Christine. I cannot express the gratitude, respect, and love I have for you. You truly are a magical person, whom, I love to WhatsApp at 7 in the morning.

Jade Stavri -Ratcliffe Executive Editor & Founder

Letter from the Assistant Editor

his IDENTITY issue is a special one for me. I have always struggled with being a very eclectic person and never really fitting in anywhere. Being able to offer a platform for all of these different voices and stories to be told is spectacular, and what The Vintage Woman is truly all about. I am fortunate to have worked with some of the people that I admire most in the vintage community, as well as meet new people, who now have a special place in my heart. Sharing their stories shows that while we do have more in common than we think, everyone’s experience is unique and their challenges are often things that we can’t imagine. Thank you to everyone who gave a little bit of yourself to help create this story.

been an adventure. I’m so proud of what we have accomplished and how this venture has grown. I hope that you will all enjoy what we’ve worked so hard to put together for you. With the magazine, website and our new Facebook Group The Vintage Woman Society, we are creating a fabulous community where we can all share our stories and learn from one another and hopefully become just a little closer and kinder to each other. I want to thank Jade for offering me this opportunity and for sticking it out with me during a daunting move across the world (Germany to Hawaii, YIKES!!). I can’t wait to see and hang out with Jade in Hawaii next year.

Please read on and discover a From the beginning with Issue 1, collection of stories and experiences working on The Vintage Woman of just a sampling of our diverse and Magazine and website has indeed expanding vintage community.

Christine Cochrum Assistant Editor

By Christine Cochrum & Caitlin Farthing 6

achel Maksy has been delighting us on her YouTube channel since 2015. Originally named “The Pinup Companion”, she has now streamlined her channel to be simply called “Rachel Maksy”. Her fun, quirky and often hilarious videos keep us coming back for more, not to mention seeing her adorable dog is always a plus. Her channel is full of great content from showing us her thrifting and vintage shopping hauls, inventive ways to style modern garments into vintage-style wear, and her imaginative look-books to hair and makeup tutorials and her incredible cosplay looks. She was recently honored as the 2018 Artist of the Year at the NYX Face Awards, and soon after, she made the brave leap to leave her full-time job and take on her YouTube channel full-time. I was so excited to have the chance to chat with Rachel and discuss some of her own identities as a YouTube Sensation, Cosplayer, Makeup Artist and just allround awesome gal. We know that you were named 2018 Artist of the Year at the NYX Face Awards. That propelled you to start your journey into YouTube and vlog stardom full-time. Tell us how that transition has been for you. It was a really big decision for me to quit my full-time job to pursue YouTube, because I think society wants us to believe that the 9-5 office life is the way to go. Honestly I’m so much happier than I had ever been at that job, and even if working for yourself can feel so uncertain at times, I wouldn’t trade it. I have been able to make videos and costumes that I never would have been able to when I was getting home at 7 o’clock Monday through Friday, and I am so grateful. You are clearly a magical being when it comes to makeup. But

you are also quite talented at hairstyles and costume-making. Have you had any formal training in any of these fields? Oh gee whiz, you flatter me! I’ve never had any formal training in anything but film-making and editing which I attended school for (and even there I was mostly self-teaching). Costumemaking was something I always wanted to do but never knew how, until I decided just to use tutorials and DO IT. The same goes for makeup and hair. We live in a time where any skill you want to learn is essentially at your fingertips, and that’s pretty dang amazing. Share with us how and when your journey into vintage fashion began. Throughout my teen-hood, I was constantly making videos where I would (quite literally) force my friends to act and wear costumes. That continued into my college career, but I found that my films would almost always take place in different eras (mostly ’40s and ’50s). I would always have so much fun thrifting and dressing my actors up in those time periods that I think something just kinda switched in me, and I realized “hey, I can dress like this too.” I had also seen amazing ladies on Instagram who had the vintage style, and always admired them! It took a while to make the switch over to my vintage wardrobe, but finding new pieces has always been really fun and challenging for me. It’s also been really cool to see how, even within the “vintage umbrella”, my style has changed and evolved.

Your makeup transformations are incredibly creative and inspiring. We know how much everyday makeup in general can transform us, so what does it do for you? Do you feel like someone else when you put on your everyday makeup? It’s funny because a few years ago, I think my everyday makeup did make me feel almost like a different person, especially when you add that red lip. But as I’m venturing more into makeup transformations and different characters, my everyday makeup seems so much less dramatic, haha! I feel like the same person with and without makeup, but I will admit to feeling much sassier with some winged liner and some lipstick! How much research do you tend to do when deciding to do a periodspecific look? Are you interested in the history aspect of these styles? I try to do as much research as I can when trying to evoke different periods, especially if it’s one that I don’t have a lot of experience in. I think that’s probably the most important part of historical costuming, along with the history that goes with it. I have always had a huge love for history, so the research is one of the most fun parts of a project for me. Learning how and why people dressed the way they dressed interests me psychologically as well. Why did women wear corsets? Why were powdered wigs a thing? Learning the history (good and bad) makes you grow as a person, too, I think. I wouldn’t want to live in the past, but being able to recreate the fashion will always be fascinating to me. For those who may not be particularly familiar with cosplay, can you give us your definition? What does it mean to you to be a cosplayer? Cosplay is essentially a means of transformation for me. You take your favorite character (or make up your own), and either replicate their costumes and appearances, or make it your own! There is something about becoming a character you admire, even if just for the day, that is so exciting. Think about when you were young and put on your favorite superhero’s costume for Halloween, and how cool you felt, that is the same feeling cosplay gives me! How much of the “play” aspect do you bring into your cosplay? To what degree do you become your character vs being yourself in a costume? I think it definitely depends on the character, and how “recognizable” their mannerisms are. For instance, when I dress as Jack Sparrow, I DEFINITELY feel the need to have his same swagger, whereas some other characters are more subtle. It’s funny because it almost comes naturally when you put on the costume, since they make you feel like the character. 8

Putting on my Wonder Woman costume makes me feel stoic and strong, and then putting on a more villainous character makes me feel super sassy. It’s pretty amazing what just some makeup/hair/costuming can do! Have you noticed any trends in the kinds of characters you like to cosplay? Are there any traits in particular you’re drawn to or find yourself identifying with? I definitely find myself drawn to strong and smart women characters, whether that be a hero, a librarian, tomb raider, or even a villain. Basically the role models I would have had when I was younger, it feels so empowering to BECOME them. I also enjoy doing male characters as well, just because it’s so different and it’s super challenging to transform yourself that much to deem you unrecognizable. There’s a not-so surprising amount of overlap in the skills it takes to make good cosplay and be good at the vintage aesthetic. Have you learned anything from one of these communities that’s helped you with the other? There is definitely a link between my love for cosplay and my love for vintage and historical clothing. I have always had a passion for costume design, though I never pursued it as a career, and I think that’s what led me into venturing into vintage style. Being able to take what I learn from research, old photos or movies, or costume design from my favorite films, and apply that to my own personal style is my favorite part of dressing the way I do. Each outfit can tell its own story and have its own mood, so in a way we’re designing our own costumes every time we get dressed. I’d say the amount of research that goes into cosplay (reference photos, fabrics, etc.) has helped so much with my own personal style, and honestly has encouraged me to go outside my comfort zone and get a bit more daring with different eras and styles.

What are some of the best things you’ve learned about yourself since you started cosplaying? I’ve learned how easily I will procrastinate, haha! No but time management has been a huge lesson that cosplay has taught me, and how to juggle multiple projects at once. Also having confidence in my skills even if something doesn’t come out the way I’d like. I think with cosplay it’s so easy to get hyper-focused on one specific detail, but then when you step back and look at the project as a whole, it all comes together and you can say, “woah, I made this.” I’ve also learned that I have quite a “sailor’s mouth” when I get frustrated, to which my sewing machine can attest. What advice do you have for people who want to get into costuming, coming from the vintage community, or vice versa? I’d say just go for it! The vintage community and costuming go pretty much hand in hand, so all it takes is some initiative to start creating. There are so many tutorials for anything you want to learn, so it’s really not that difficult to become self-taught. Not to mention learning from your own mistakes and experiences. I would say “start small”, but one of my first real cosplays, I bit off way more than I could chew and it actually helped me grow and learn! “Community” is a huge part of any hobby, and both the vintage and cosplay communities have been so helpful to me as a resource whenever I have any questions. You CAN DO IT! Tell us what is on the horizon for you - Do you have any exciting projects coming up? I am constantly trying to push myself creatively, so I plan to keep making more costumes and videos that I may not have experience with but have always wanted to do! More time periods, more big, floofy dresses, cosplay techniques I’ve never done

before, etc.! Plus, Halloween is coming up and I am super excited to start planning some wholesome spooky content and costumes. When you choose to make things that youâ&#x20AC;&#x2122;re passionate about and that get you excited, the possibilities are endless! â&#x2122;Ś

Rachel Maksy

TO BE TIED A CELEBRATION OF CURVES, SWERVES & PERVS IN THE STYLE OF THE LATE, GREAT JOHN WILLIE

PHOTOGRAPHER | Vs Anchor Studio STYLING & DIRECTION | Lori Jade MODEL | Georgina Horne - Fuller Figure Fuller Bust • Playful Promises Josephine Bra with Inez knickers with latex Accessories from Bettie Page Lingerie at Playful Promises • Playful Promises Ava 1/4 cup bra with latex pasties & beret; Bettie Page Lingerie • Corset; model's own

MODEL | Rosa Limonata • Willa set; Playful Promises • Hand Print set; Bettie Page Lingerie at Playful Promises • Corset; model’s own • Rope & Spreaders provided by Rosa Limonata

By Brandi Pomfret

n 1949, the famed architect Frank Lloyd Wright stated, “this movement which we call modern art and painting has been greatly, or is greatly, in debt to homosexualism”, and he was right. Societal attitudes towards samesex relationships have varied over time and place, and the repercussions have swung widely from complete acceptance to the death penalty. Though through it all, artists have found a way to beat to their own drum. Often, we hear of those famous gay male artists – Francis Bacon, Keith Haring, Andy Warhol – with little recognition given to their female counterparts who were just as revolutionary in advancing identity and acceptance.

Homosexuality is as old as art itself, and the two have always been intertwined. During the Renaissance (roughly 1300-1800), creative hubs such as Venice and Florence were renowned for their widespread, and public, practice of same-sex love, based largely on the traditions of the Greeks and Romans who lived freely until religious persecutions ran afoul of most of Europe. During this Renaissance period of freedom and creative flourishment, the French even went as far as rewriting their criminal code to remove all reference to homosexuality and decriminalise the practice in their country and territories. England’s law of 1886 outlawing sexual relations between men (but not between women) came at the start of a long period of criminalisation not seen much prior, and was frequently directed to members of the arts communities, who prior to this, had been able to live and love as they so chose. Oscar Wilde’s trial of 1895 was famous for forcing a well-known writer to define a relationship or behaviour that had previously been so normal there wasn’t even an easy name for it. Just prior to this, in 1890, the term “lesbian” had only just been coined, and yet even going into the 1900s, it could easily be interchanged with “invert”. Oscar Wilde may have stepped out as a bohemian and an artist, but in the new eyes of the law he was a criminal, and his prison sentence changed the way artists behaved, particularly when out in the open. There were, however, still those artists who chose to live their most authentic selves; those who created, and loved, despite the risk of prosecution. Here we celebrate those artists in all their multi-hued glory. At the turn of the 20th century, photography had taken over as a craze, and artists were starting to utilise the medium to depict reality, even staged reality, as opposed to 17

their painter counterparts still working in an idealised way through Impressionism and Expressionism. These early photographs depicted the private lives of women and their lovers, as well as experiments with identit y and the perception of such.

named Gertrude Tate without there being any connection made between her art and her private life.

Alice Austen, born in the mid-1800s in New York, was a highly prolific photographer (over 8,000 works in her lifetime) who shot nature scenes, Victorian society, and staged photographs of her friends that challenged the stereotypes and expectations for women of the day. You will find many of her works where ladies are depicted drunk (pretending to be), turning away male marriage proposals, cross-dressing as men, or embracing other women. While Alice’s photos were provocative for the time, there was still a bit of disacknowledgment of the idea of the lesbian, and so she managed a 53-year long relationship with a woman

Claude Cahun (or often just Claude), born Lucie Renee Mathilde Schwob, is famous for their surrealist photographs blurring the lines between gender and sexuality. They are best known for their non-gender specific self-portraits, following behind pioneers like Alice Austen in questioning traditional concepts of femininity and expected gender roles. Claude’s autobiography Disavowels (a must read!) states: “Masculine? Feminine? It depends on the situation. Neuter is the only gender that always suits me”. Being one of the first public figures to adopt a gender-neutral name and stance is astounding enough, but their constant commentary on gender and sexuality, and creation of explicit artworks that broke from the traditional surrealist mould of depicting women as objects for men, allows them to fall into a category of greatness all their own. 18

Those early decades of the 1900s saw a flourishment in the arts, particularly in Europe. Private salon gatherings were held at homes of the most prestigious writers and arts collectors in the world, and allowed LGBTQ artists a place to mingle safely. Though, in some ways it was easier to live openly in these early days, not because people were more accepting, but because they simply couldn’t understand a woman loving another woman and so turned a blind eye to what was in front of them. The writer Henry Miller even wrote in the 1930s that “The populace had grown so hardened to artists that gruff-voiced Lesbians in corduroy breeches and young men in Grecian or medieval costume could walk the streets without attracting a glance.” In fact, it wasn’t until photographs of British author Radclyffe Hall and her partner Lady Una Elena Troubridge appeared frequently in the press in the 1920s, and her book “The Well of Loneliness” was published in 1929, that the public began to put a name to certain aspects of sexuality. The book,

which was deemed obscene in the UK for promoting “unnatural practices between women”, actually went on to achieve great success and recognition in both the UK and US. This time between the wars brought us extraordinary painters that continued to push boundaries and question identity, namely Romaine Brooks, Hannah “Gluck” Gluckenstein, Tamara de Lempicka, and Jeanne Mammen. Romaine Brooks, though born in Italy, lived most of her life in Paris where she socialised with upper-class American and European expats, many who were artists, and homosexuals, as well. She frequently painted women, including herself, in androgynous or masculine outfits, and was

one of the many creative types who hung out in “salons” at the homes of prominent creatives. It was in one of these in 1915 where she met Natalie Clifford Barney, whom she carried on a relationship with for over 50 years. Romaine’s being a lesbian who dressed in a top hat and tails was enough to cause a stir in the early 1900s, but she was also very open about her non-monogamous nature, and so had a variety of love affairs with other women artists, including Hannah “Gluck” Gluckstein. Gluck obviously ran in similar circles as Romaine, and, like her, refused to dress in the way that was expected of a woman at that time. She was frequently seen in men’s clothes and at one point insisted on 19

Tamara de Lempicka was Polish, and seemingly on the surface, a heterosexual woman. She moved with her husband and child to Paris in the 1920s, and there became part of a circle of artistic women and took up painting, focusing primarily on erotic nudes and portraits of powerful women.

only being known as Gluck - “no prefix, no suffix, no quotes”. Gluck carried on lengthy relationships with a number of prominent women in her time, including the English author Edith Shackleton Head, but perhaps her best-known love was with a woman named Nesta Obermer. Gluck painted with her in a work titled “Medallion” – a work which has gone on to be an icon of early queer painting.

It was during this time she met a wealthy model named Ira Perrot who paid to whisk her away to Italy, where she attended lesbian parties. It was documented that during one of these parties, Tamara arranged food on the body of a nude woman so that she might better appreciate her “midnight meal”. Jeanne Mammen was a German painter who, also working in this period between the wars, benefitted from the sexual revolution of the Weimar period. Women were bobbing their hair and shortening their dresses everywhere, but Germany in particular was paving the way for accepting what had, in other countries, suffered if not from blatant prosecution, then passive tolerance. In 1925, Die Fruendin, a lesbian specific magazine,

published its first issue, and in 1926 was followed by Frauenlibe (“Woman Love”). Sexologists and physicians in Germany were politically campaigning for civil rights for gay men and lesbian women, even going so far as to label homosexuality a “natural biological variation” rather than sinful behaviour processed through a religious lens. In the midst of all of this we have Jeanne Mammen, who not only painted strong, sexual women and butch-femme couples in Berlin clubs and cafés, but also illustrated a collection of lesbian love poems called Les Chanson de Bilitis. She was denounced by the Nazis for her blatant disregard in portraying “appropriate female submissiveness”, which, even if her paintings weren’t as beautiful as they are, would be reason enough to applaud her. Even with the rapidly encroaching threat of war and Nazis, these informal networks of creative lesbians were able to flourish in Europe. They could write about their “wives” and romantic partners and portray them in their art as muses, but it was a different story across the ocean. In many states in America, crimes such as “sodomy” and “buggery” were capital offenses, and cross dressing could send someone to prison. The laws had been updated in 1923 and by the ‘30s, there was a strong anti LGBTQ agenda being pushed (one only has to look at the Hayes code in

film and the banning of even sympathetic portrayal of homosexual characters to see how bad it got). Gay men and women were seen as dangerous to society, and so were mainly found in large city centres like New York and Chicago. Even then, they were oftentimes relegated to seedy bars. New York fared better than most with the “Pansy Craze” of the early 1930s, where drag queens (known as “pansy performers”) had a surge of popularity. Seeing men dressed as women and women dressed as men on a cabaret stage allowed the terrified heterosexuals to keep a distance and tell themselves this was all a show. In the contrast to the European artistic 21

LGBT community turning to painting, photography, and writing, many Americans turned to professions in entertainment – and it is here where we get amazing LGBTQ women of colour taking the stage.

Gladys Bentley (stage name: Bobbie Minton) was an American blues singer who became famous in the 1920s, playing the piano in a tuxedo and top hat. Through the ‘30s she could be seen with a backup chorus line of drag queens, and heard singing raunchy songs and flirting with women audience members. One of her most well-known songs was “Nothing Now Perplexes Like the Sexes, Because When You See Them Switch, You Can’t Tell Which is Which”, which earned her top billing at places like the Apollo, as well as her own radio show. For much of the ‘20s, she was one of the highest paid black women in America. Gladys may not have gotten where she was, though, without the mother of blues – Ma Rainey. Ma suffered a typical fate in America at this time, living a straight life on the surface, and even touring and performing with her husband. 22

She didn’t hide who she was though, singing about not liking men in “Prove it on Me Blues” – supposedly written about her arrest following an orgy at her home with a number of women from her chorus. Even Billie Holiday and Josephine Baker allegedly had

affairs with women. Performers of the day stated “the girls needed tenderness, so we had girl friendships, the famous lady lovers. But lesbians weren’t well accepted in show business—they were called bull dykers. I guess we were bisexual, is what you would call us today.” With the war and prohibition finished in the 1940s, a new tide of acceptance was rolling in around the world. Frida Kahlo, a Mexican artist in the early mid-century, created paintings dealing with her identity and how she envisioned herself – sometimes in men’s clothing, and sometimes broken and lacking what she wanted most, to be a mother. She was similar to the other artists mentioned in that she lived her life married to a man, but through it, she continued affairs with various other men and women, some as well known as Greto Garbo, Dolores del Rio, Josephine Baker, and the Mexican singer Chavela. The latter was known for singing canciones rancheras, traditional Mexican

songs typically performed by men, while dressed like a man. She purposely questioned female expectations by presenting herself in atypical clothing for her time and sang songs to women in her audiences. When Frida met Chavela she said: “An extraordinary woman, a lesbian, and what’s more, I desire her. I do not know if she felt what I did. But I believe she is a woman who is liberal enough that if she asks me, I wouldn’t hesitate for a second to undress in front of her… Was she a gift sent to me from heaven?”

Even across the globe in Finland, the children’s author, painter and illustrator Tove Jansson was creating the famous Moomins while enjoying a multi-decade long love affair with a woman. Having had several male lovers, she “went over to the spook side”, in her own words. Tove and her

lifelong partner Tooti kept their relationship discreet, living separately, but spending their summers together on an uninhabited island in the Gulf of Finland. In the late 1800s and early 1900s, LGBTQ artists labelled as females identifying as lesbians, whether they dressed in men’s attire, were married to men but sleeping with women. Some were open about their sexuality, but some were not, mainly because there wasn’t a name to describe how they identified. For as many artists like Claude and Gluck, going by gender-neutral names and pronouns, there were just as many Josephine Bakers, hiding who they were, and woefully little clear representation of transgender persons. The film The Danish Girl brought to modern eyes the story of the artist Lili Elbe and her wife (also a great artist in her own right) Gerda Gottlieb. Lili, born Einer Wegener, was Danish, but settled in Paris in the early 1900s, as she felt she and Gottlieb could live openly there as a lesbian couple (though sometimes Lily was introduced 23

through her art before she could physically express it. Being prohibited from wearing dresses as a young boy, Greer resorted to making puppets exploring identity, and carried on the practice in the decades leading up to and following her sex reassignment surgery. Some figures are hermaphroditic, and some are kept in cages, but most all express in art how Greer battled with the idea of being born in the wrong body.

to people as Gerda’s sister when out in public in female dress). She painted herself as her true woman identity, just as Gerda painted her as well. She was one of the first recipients of sex reassignment surgery, and, unfortunately, passed away in the 1930s following complications involving a uterus transplant. Like Lili decades before her, Greer Lankton (born Greg Lankton) expressed herself

Sadly, despite hundreds of years of visible LGBTQ artists, we still battle for recognition for these photographers, painters, sculptors, writers, and musicians. Some gallerists closet their artists long after their death and erase any mention of sexuality or identity. In the ‘70s and ‘80s, there was a strong Gay Liberation presence – possibly brought into the forefront by the Stonewall riots in 1969 – and fights for equal rights for women and people of colour all happening at the same time. Every few decades we get a renewed interest in those LGBTQ artists who came before, often through films or published biographies, but it’s not enough. To those creative spirits who fought against oppressive governments, laws, and proscribed social codes to be themselves – I salute you, and I won’t let you be forgotten. ♦

1940s NOIR LIKE YOU’VE NEVER READ IT BEFORE WITH A FEMINIST GAZE COMING SOON!

OUT ON 1ST DECEMBER 2019! Read CHIPPED PEARLS, Book Two in the Elvira Slate Investigations crime series! In a thrilling world of all-girl swing bands, dangerous widows and beauty entrepreneurs, can Elvira crack the case before the past – and her personal demons – bring her down? Get ahead of the game. Read JAILBIRD DETECTIVE, Book One, out now!

Discover the fabulous world of

WWW.SHEDUNNIT.COM | FOLLOW US FOR UPDATES ON TALKS, EVENTS AND LAUNCHES ©Shedunnit Productions Ltd.

BEHIND THE SCENES

Trousers; Collectif Blouse; Loco Lindo Shoes; Bettie Page Jewellery; Stylist's own

Trousers; Collectif Bettie Page

| Blouse; Unique Vintage

| Shoes;

| Jewellery & Accessories; Stylist's own

Dress & Jacket Set; Trashy Diva Jewellery & Accessories; Stylist's own

Dress; Trashy Diva Jewellery; Stylist's own

Dress; Glamour Bunny Jewellery; Stylist's own

Dressing Robe & Lingerie; Dot

tie's Delights

Dress; Unique Vintage Jewellery; Stylist's own

Dressing Robe;

Dottie's Delights

Dress; Bettie Page Jewellery; Stylist's own

By Brandi Pomfret

here are many industries that, for ages, have been seen as by men and for men (banking, construction and mathematics, for starters) but one of the most prominent we see today is the profession of tattooing. Mummified remains tell us that people have been decorating their skin since the prehistoric era, but many of the tattooed individuals that initially spring to mind are sailors, warriors, prisoners and others who are disproportionally male. When we look back through the annals of history, we see very little of women sporting ink and even less with women doing the tattooing. This clouded view of history skews our perception of tattooing and tattooists â&#x20AC;&#x201C; many people donâ&#x20AC;&#x2122;t even realize that female tattoo artists have been around for well over 100 years, even during a time when it was an illegal profession. Maud Wagner was a circus performer turned tattoo artist in America who started working as early as 1904; Betty Broadbent (US) and Jessie Knight (UK) were tattooing through the war periods in their respective countries; the Filipina Whang-od Oggay has been honing her craft since the 1930s. While men had to earn her tattoos by protecting villages or killing enemies, she happily agreed to tattoo women in her village primarily for aesthetic purposes. She also only takes on female apprentices and yes, is still working today with a traditional stick-poke method (sheâ&#x20AC;&#x2122;s now 102!). When you search for it, there is a wealth of information regarding female artists and tattooed individuals; you just need to know where to look. These days we are seeing more and more women not only tattooing, but also rising to the top of the industry and becoming a force to be reckoned with. A walk through any tattoo convention will show you that women are levelling the playing field and building a following of men and women alike who are vying for a bit of their art. We see those artists who have embraced a traditional style and those who have developed a new style within this ancient craft.

The women of realism If you’re looking for realistic portraits, then turn to Sam Ford in the UK or Laura Juan in Spain. If you can’t make it to either country, both artists are regular fixtures at tattoo conventions, but their work is much sought-after, so you must book well in advance when their books are open.

catch one of her residencies of live tattooing, such as at the New Museum, NYC and Museum of Contemporary Art, Denver. Amanda is an exceptional fine artist and her tattoos are without compare, which is perhaps why when you hear “painting tattoo”, her name is the first one on anyone’s lips. There are those other amazing artists embracing this

HeeMee works out of Sol Tattoo in Seoul, South Korea – a country well-known for its conservative position on tattooing. To become a tattoo artist here one must be truly dedicated to one’s craft and if HeeMee’s following in real life and online is any indication, her realistic gemstones sit in the perfect place where art and culture meet. If portraits and jewels aren’t your thing, but you’re looking for a tattoo that will make anyone do a double take, then look no further than Rita AKA RitKit. She works out of Kyiv, Ukraine, but travels frequently so that she can use native plants for her works of art, so you may catch her in your area. She noted that during the years she started to tattoo, she didn’t see a lot she liked, so “I was really

interested in creating something new. I don’t use pictures, sketches or photos from the internet. I work only with fresh flowers, plants and herbarium. I use them to stencil and then I tattoo plants from nature, trying to translate the flower in the most realistic way.”

The painters in ink About a decade ago I remember first seeing the work of Amanda Wachob and thinking there had never been anyone quite like her. Over the years I’ve followed her progression through a distinct painterly style and to her worldwide recognition. You can often see her fine art works on canvas at museums across America and if you’re lucky,

new style and fine-tuning it into something that is wholly their own. Emma Grace works out of New York and New Jersey, creating soft, vibrantly coloured tattoos that jump off the skin and appear to still be freshly painted. Yuki Zerkjad is a Romanian artist working in London with a special painterly technique. She says she

“began doing watercolour tattoos, experimenting with different techniques, trying to push it in different directions. I was looking for references for one of my clients when I found these beautiful Chinese ink-wash paintings. I was immediately drawn to them and started researching the aesthetic and philosophy behind the style. Unlike Western watercolour, inkwash painting tends to focus on tonality and shades of black over variations in colour. The aim is to convey in a condensed form the vividness and rhythm of nature, with all its cosmic beings, using minimal brush 37

strokes. I adore nature, it’s the only place where I feel calm and relaxed, so this art form resonates with me, and helps me maintain that connection. It seemed natural to incorporate it into my tattoos, and I’m excited to see where it leads me.” Her style is not just about creating artworks on someone’s skin but creating something new and injecting (pun intended) a bit of herself into the process.

The colour queens Anyone familiar with female tattooists in recent years will have obviously heard of Lauren Winzer. Based in Sydney, Australia, she’s well-known for tattooing Miley Cyrus and Katy Perry, but properly recognised because of her talent. One of the first to do tattoos of crystals, she’s since evolved her style into glitter tattoos and embraced the fun and frivolity of pop culture, translating it into wearable art. Sasha Unisex (Russia) and Zihee (South Korea) break down animals, botanicals and other imagery into fields of bright colour. Zihee has said “Cities can be overwhelmingly grey. Colourful images can pierce through that greyness and really draw in people’s gaze”. There is no denying that a fox or a snake rendered in vibrant hues can alter your perception and feelings. Mae La Roux has taken Disney beyond the parks and the films and turned it into an art all of her own. She creates tattoos from well-known Disney imagery and icons like portraits of the Little Mermaid or Moana, as well as things like tiki mugs and dole whips that the die-hard fan can rejoice in.

The traditional and beyond One of the most well-known women here is likely Angelique Houtkamp from Amsterdam. She’s written two books, Tattoo Darling and Tattoo Mystique, and sells drawings and prints of

her work at galleries around the world. Her images are iconic and she was one of the first women to embrace that traditional medium, which some perceived as manly and to make it into something easily identifiable as her own. In London we can find Claudia Smith who works solely in black and grey, creating a subtle depth of shades from a single colour. Her flowers hold weight and power and can look strong and yet also feminine on the women who show them off in brave areas across clavicles, rib cages and knees. Zoe Bean in Brooklyn, NY takes a similar black and grey aesthetic and punctuates with incredibly fine lines and dot work. Much of her work depicting sea creatures and shells is imbued with a rough earthiness and a classical quality that puts it not in neo-traditionalism, but a field all of its own. There is a growing number of women tattooists and those owning their own shops, but there can always be more visibility and attention paid to these exceptional women. To give an added voice, the Vintage Woman Magazine spoke with a number of these amazing artists and asked their thoughts on women getting and giving tattoos, the industry as a whole and any hardships they, or others, may have faced. Let’s start with a hard one right off the bat – Have you ever experienced any problems being a female tattooist (judgement, harassment, etc)? Claudia: My start in the industry came from a very old school background, a shop as old as me with some hardcore characters running it. I remember once I heard my boss say that he would never have a woman run his shop. Before I left, I think the majority were women, that always made me laugh. So, in short, yes. It was definitely a view that changed over my time there, but not without resistance. Old views die hard in some places.

Zoe: I’m female so, of course. I think it’s easier now for a woman in tattooing than it was when I first started getting tattooed in the late 80s / early 90s. There were some badass pioneering women who paved the way and broke down a lot of barriers. But as a woman in the world, harassment is everywhere and tattoo shops are no different. Tattooing is having its own #metoo moment and finally tattooers are being called out for their bad behavior. Yuki: I am the first female tattoo artist from my city and having worked in a few places where I was the only woman, I never felt intimidated or discouraged. I’ve been lucky to work alongside some very talented and kind people and I am grateful for that. I think the public perception has improved over the years and it’s great to see people are more openminded about tattoos. Some women still experience prejudice and unwanted attention, but times are changing and more of us are pushing into the industry and breaking up the stigma. You have such a specific style of tattooing – how did that come about? Mae: I have a very personal connection to Disney. Not so much because of the films I saw during my childhood directly, but my experiences at Disneyland as an adult and what spiritual and emotional voids it filled in my life. I had a fairly tumultuous childhood and have unintentionally blocked out a great deal of it from my memory. [After] my first visit several years ago Disneyland was the one place untainted by the demons of my past and present, and allowed me to reclaim the purity that was once stolen from me. Walt said it best on Disneyland’s opening day, “To all who come to this happy place:

to creating custom and whimsical Disney tattoos. It’s not so much the tattoo subject matter itself, but what it represents and it’s been an absolute privilege and honor for me to share in my client’s experiences and immortalize them in a tangible way. Zoe: I think I’ve been making dots in one form or another since I was a kid. I had a client, Lily, who came into the shop where I was working and wanted a horseshoe crab. Somehow, I convinced her to let me make it out of dots. We both really liked how it came out. Over the course of a year I made more dotwork sea creatures on her, filling up most of her arms. Every time I would post one on the internet more people would come into the shop asking for that style. It’s amazing what having a good collaborator can do. Do you think it’s harder for a woman tattooist to succeed in the industry? Mae: Personally, not at all. In fact, I think it only helped me. When I first started and there weren’t as many women out there, the guys wanted the cute girl to tattoo them and the girls wanted the girl because they were more comfortable. I also feel, with my different perspective and sensitivity as a woman, I’m able to provide a different experience than some men (not all, of course, men can be just as gentle). I understand that some women may have had their own disadvantages due to their sex in a male driven field and it’s a valid concern, however, I think it’s about how we carry ourselves and adapt to the environments we are in. I feel like if you don’t make your gender an issue, it doesn’t have to be one. I don’t want to earn respect by what I succeed at as a woman. I want to earn respect by what I achieve as an artist and a human. In my opinion, we should all be truly equal. Claudia: I look around me and I see so many incredible female artists smashing the game, so I’d like to say not any more but like I said, old views die hard. I’m just very thankful for the women that broke the industry when it was not so accepting and paved the way for the girls doing it now.

Welcome. Disneyland is your land. Here, age relives fond memories of the past, and here youth may savor Zoe: I think that in a lot of ways it’s harder for women to the challenge and promise of the future.” It gives me chills succeed in the world. Tattooing is a strange anomaly. I

hearing his voice speak those words! Countless others share similar stories to mine. They derive the same childlike wonder and find refuge from the darkness of the world in this place where you can shed the burdens of your life and simply feel free. This is exactly why I have chosen to devote my life’s work

think right now women are doing really well. I have found that female clients, especially ones who have had a less than great experience getting tattooed by a man, want to get tattooed by women. I’ve had a lot of clients seek me out and tell me they only want to get tattooed by a woman.

Yuki: The tattoo world has been very much a boys’ club, but a growing number of female tattoo artists are shaking things up. Rethinking the business and changing perceptions, by creating female-friendly spaces, is something that was long needed. Shops are less macho and more welcoming to female customers who often find it easier to chat and uncover their bodies in front of another woman. No Regrets London, the studio I work at, also has a balanced ratio of men to women artists and everyone is supportive of teach other.

What I did find at one point was older men coming in and telling me that they don’t like tattoos on women or tattoos on women’s legs. Bizarre. Saying that, I haven’t had problems like that in years – 99% of the people who walk through the door are truly lovely!

Speaking of shops and creating a safe space for women – a lot of you own your own shops, which is so amazing to see!

Yuki: Yes. Celebrity culture, among other things, has propelled tattoos into the mainstream. In the UK, more women than men are getting inked and I can confirm it. My customer demographics show that more than 60% are female, coming from all walks of life. I also had the pleasure of tattooing a few senior women – you don’t often hear of a septuagenarian getting her first tattoo. I think it’s amazing that older generations are challenging social norms and it shows that tattoos are becoming widely accepted. Today, women who want to get a tattoo have more choices than ever before. Female artists have not only created a less intimidating experience for customers, but also made available a new range of stylistic options. Naturally, the reasons women get tattooed are varied and so are their stylistic preferences. While some prefer traditional tattoos, others opt for ornamental, dotwork, minimalist or something heavier like blackwork. Ultimately, tattoos are a product of personal and cultural expression. I usually get requests aligning with my style – abstract, ink-wash and watercolour. Birds, animals, plants and flowers are a consistent subject matter in my work. One might think of that as feminine, but I tattoo quite a lot of men as well. My tattoos are dedicated to people who want to try something different and keep something old alive, a truly special gift to be carried throughout their lives.

Zoe – you run the New Moon Studio in Brooklyn, NY with another amazing artist, Drew Linden. How is it going?: Amazing! So much fun! Drew and I opened The New Moon Studio because we wanted to create a safe, welcoming space where we could be ourselves and invite our clients to do the same. It feels so good in the studio. People comment on it all the time. I think we just work really well together. We have a really balanced way of doing things and good communication. We are both really excited to be there and I think people can feel that when they come into our space. I am super fortunate to have such loyal and lovely clients. So many of the people I tattoo have been coming to me for a long time and have brought me their partners or family members. It’s such a demonstration of trust. We have a large queer and trans clientele that we really value. Part of creating this space came from the desire to protect our clients from negative experiences. We wanted to make sure that their time in the shop was positive from start to finish and that they always felt welcome and respected. Betty – you don’t tattoo yourself, but run Spread Eagle tattoo in St Leonards, UK. What’s the ratio of men to women there, and have you experienced any judgement being a female and running your business? We have two artists, my husband Ben Davies and Andrew Sloan – the three of us work together with occasional guest artists when we have the space, but for the most part it’s me and the two guys. We do have female guest artists who work at our shop too. I never feel outnumbered being the only regular female. Everyone at the shop treats each other with equal and mutual respect. It’s a lovely place to work. When we first opened there was maybe a little bit of judgement; I think some people didn’t like speaking to a female who isn’t a tattooer about tattoos.

Do you think more women are getting tattooed these days or do you see any change in the clientele that come seeking your work? Do you see any difference in the types of tattoos women are getting?

Claudia: I definitely think more women are getting tattooed, yes. One of the best aspects of my job is the variety of people I meet and speak with that pass through the studio. I would say a good percentage of my clients are older ladies that are getting that little thing they’ve wanted for 20 years, as much as the ‘serious tattoo collectors’ you’d expect. That’s really an amazing thing, that something has changed that makes them feel comfortable now, to come and be a bit rebellious.

Betty: Yes, most definitely I would say 60% of the people getting tattooed in our shop are women and I see women getting all kinds of tattoos. I wouldn’t say there’s one particular style that only women get or only men get. At our shop we do lots of traditional and illustrative tattooing and folks that come in are after these particular styles – female,

Stacey Martin, Linn Aasne Gronneroe, Stella May Vlad, Jessica Pooka, Jessie Fora, Guen Douglass – to name just a few. Yuki: Of course! There is so much talent out there and seeing other female artists crushing it pushes me out of my comfort zone. I love Lee Stewart’s brush stroke style. Carefully thought-out and harmonically placed on the body, her tattoos capture the very essence of movement and flow of the brush. You ladies have been amazing! Any parting comments? Claudia: I really love the direction tattooing is going in now and the shift in what it represents. I think it’s just one more step in the process of women taking autonomy over their bodies despite what is happening all around us. I hope we can continue to support each other and live our lives exactly how we want to with unique self-expression and confidence. Betty: This is truly an amazing time to be a woman in the tattoo industry!

male, trans or non-binary. Any female artists you can recommend for our readers to research? Betty: From Jessie Knight, the first prominent female tattoo artist in the UK, to modern day artists such as: Harriet Heath (@Lonerosetattoo), Mel Szeto (@Melszeto), Clara Sinclair (@ Clarasinclairart), Valeria Marinaci (@Valeriamarinaci), Gemma B (@helfire) and Holly Jade Ashby ( @Hollyashbytattoo) – a truly talented bunch of babes! Mae: I love Michelle Maddison! Not only is her work mega clean, saturated and whimsical, but she’s absolutely sweet as you’d want her to be. Jasmine Wright is also a new traditional babe on my list who I have a lot of work from. Next on my wish list to get work from is Hannah Flowers. Her work blows my mind literally, I can’t wrap my artist brain around how she does it. Zoe: So many. I am so fortunate to know so many badass women tattooing right now. First and foremost, my partner Drew Linden. After that, Christina Hock, Nico Balboa, Jody Dawber, Anka Lavriv, Tine, Cindy Vega, Jennifer Trok,

For any women out there who have considered getting a tattoo but have felt intimidated about walking into a shop – most of the women on this list, or recommended by our artists, have their own shops or tattoo out of their studios. Do your research and find an artist whose style fits with your aesthetic and what you’re looking for, and discuss it all in advance. The world is evolving and there is a multitude of exceptionally talented and strong women out there who are happy to welcome in more of their kind and remind all women that we’re not alone in the world. ♦

ARTIST LINKS: SAM FORD LAURA JUAN HEEMEE RITKIT YUKI AMANDA WACHOB EMMA GRACE MISS MAE LA ROUX

LAUREN WINZER SASHA UNISEX ZIHEE (KOREA) ZOE BEAN (NY/USA) ANGELIQUE HOUTKAMP CLAUDIA SMITH BETTY ALOHA 41

hen I first joined the vintage community in my early 20s, I thought it was a safe space. A place where I could openly express my feminism. Where Marilyn Monroe's unapologetic sexuality was celebrated, where Rosie the Riveter's strength was admired and where voluptuous figures like Jayne Mansfield were widely accepted. Independence, strength, sex positivity, and the acceptance of fat bodies stood out undeniably as values that formed a foundation of feminism in the vintage community. At the time, however, I didn't realize that

they figure it out. Much like the pinups of color back in the day, our needs and means to survive and thrive in this community as modern pinups of color are also an afterthought. The only way we can push back against becoming an afterthought in the feminist movement is to embrace and strive for intersectionality. When we talk about the concept of intersectional feminism, we are talking about the term famously coined by Kimberlé Willams Crenshaw in 1989. "Intersectional feminism" requires a framework of feminism that recognizes the

Navigating the Vi as an Intersect

by Ashleeta B

all of those women above were, unlike myself, white. Whiteness and proximity to whiteness were the standards that had been set. This isn't to say that there were no women of color at the time – there were Toni Elling, Lottie the Body and Miss Topsy. However, for some reason, they were only an afterthought in comparison to their white counterparts. The truth remains that whiteness and the experiences of white people are the default in the vintage community, and very few people are striving to make their brand of feminism intersectional. The realization of this standard sent me reeling – I think it hits every minority in this community on some level when 42

intersection of power and privilege that affects the more marginalized communities of women within feminism i.e., women of color, trans women and queer women, just to name a few. In other words, the more layers of oppression many of us experience, the greater the need for intersectional feminism. True feminism is not onesize-fits-all. To quote Kimberlé Willams Crenshaw, "Different things make different women vulnerable." The most recent example of this occurrence was the controversy within the vintage community that exploded when Viva Las Vegas joined forces with several other Rockabilly music festivals

and decided to ban the Confederate flag finally. In the United States (and everywhere really), the Confederate flag is undoubtedly a painful and fearinducing representation of white supremacy â&#x20AC;&#x201C; so much so, that it is listed as a symbol of hate by the Federal Bureau of Investigation. In an article for The Root, Monique Judge goes more indepth about its connotations: "The racist ideologies behind (the confederate flag) (sic) still pervade and control American society today, and the very existence of the flags and statues is a slap in the face to all the progress America claims tohave made where race is concerned."

people of color gatekeeping in this community. It may come as a surprise, but it is possible for even people of color themselves to work against their own best interests to undo the work of intersectional feminism. Respectability politics are a big part of that undermining; some of the most powerful and visible people of color in our community are allowing companies and organizations to perpetuate racism and using their platforms to protect and dismiss these same harmful behaviors. In an article for The Root, Damon Young lays out the full damage

intage Community tional Feminist

Beauchamp

However, in regards to Viva Las Vegas, instead of joining people of color and other marginalized groups targeted by this flag in celebrating its removal, many of us were met with death threats and backlash for speaking up in favor of it. Many of our experiences as marginalized women of color were dismissed and reduced, and when we called on our white feminist counterparts to help uplift our voices, we were met with an overwhelming amount of silence. It did not affect them, so it was not of importance, and thus, their brand of feminism failed at including all women. Simultaneously, an even more devastating blow was to see other

respectability politics in regards to racism can do: "It shifts responsibility away from perpetrators (which in this context would be America) and places it on the victims (which in this context would be blacks in America). Instead of requiring the people and the institutions committing and propagating racist acts to change, it asks the people harmed by the racism to change in order to stop being harmed by the racism. Which is like getting shot and then getting blamed for standing in front of the bullet." This ideology, without a doubt, negatively impacts women of color within the realm of non-intersectional 43

feminism as well. Many of us more vocal minorities are struggling to get the rest of us inclusion, representation, and an equal platform, only to see them get undermined and exhausted by fellow people of color in this political climate. This behavior further harms us and derails our attempts at uplifting feminism that is intersectional. So, how can our feminist counterparts help us and do the right thing? Well, the first step in making sure your brand of feminism is intersectional is to make sure you not only listen to more marginalized groups when they are expressing themselves but also uplift their voices. Speaking authentically on a type of oppression you've never experienced is simply not possible and, of course, representation matters. A lot of the time, essential conversations about race and other experiences unique to a specific marginalized group within the feminist realm are derailed by defensiveness and selfcentering. This was a popular tactic to derail conversations during the #METOO movement; the opposing hashtag #NOTALLMEN started to trend alongside #METOO in attempts to shut down and silence women in general when speaking up about their personal experiences. A perfect parallel example to when more marginalized women are speaking about their unique experiences within the community: instead of the dynamic being men and women, it is the wider scope of feminism derailing discussions that feminists who are more marginalized experience because it doesn't apply to them and thereforedoes not need to be addressed. 44

If you are feeling defensive when a person who is marginalized or victimized in ways that you are not, is sharing their experience, it is always important to self-reflect and investigate where that defensiveness is coming from and how you can unpack those feelings. Everyone makes mistakes, and as a society, we are always learning, but we owe it to ourselves to make sure we are not impeding that progress.

"Feminism should uplift all women, regarldess of societal norms or standards!" When it comes to women's rights, we must always strive to include all of those who have significantly less privilege, trans women, women of color, and other highly marginalized demographics among women. We must elevate their voices instead of silencing them because their struggles are unique and painful ones. Without the crucial tool of intersectional feminism, we cannot claim that the vintage community is a safe or welcoming space for everyone. This is why I will continue to support those who decide to be inclusive and leave behind those who are not. Feminism should uplift all women, regardless of societal norms or standards! â&#x2122;Ś

Style Ad Infinitum A LOOK TO THE PAST AND IT’S EXPERT TAILORING

Stylist : Lori Jade Photographer : Victoria Chetley Models :

Vanessa Frankenstein Sam Elson Lady Eccentrik

Clothes supplied by : Scarlet Rage Vintage Lori Jade’s Archive

• 1930s Skirt Suit Set from Scarlet Rage Vintage • Earings from Lori Jade’s Archive

• Fred A Block Suit & Fred A Block Suit Jacket from Scarlet Rage Vintage • Hat Lori Jade’s Archive

Left and Right: • 1940s Fred A Block Suits from Scarlet Rage Vintage • Middle Suit (Fred A Block Suit) and accessories from Lori Jade’s archive

â&#x20AC;¢ 1930s Skirt Suit Set from Scarlet Rage Vintage

Ladies of Influence Vintage Instagrammers Spreading Positive Messages by Bee Townsend

n a world built on capitalism, it's no surprise that companies have taken the opportunity to cash in on the rise of social media personalities and fill our Instagram feeds with sponsored posts. The term "influencer" is now synonymous with cheap clothing hauls and luxury holidays, and those who were once our peers are now living lifestyles far beyond the average person's reach. However, not everyone is happy to jump on the influencer bandwagon and fill their bank accounts by encouraging others to consume mindlessly. The Vintage Woman sought out four lovely ladies who are using the Instagram platform to spread alternative messages and break the mould by showing what it really means to be a positive influence(r)!

Angelique Noire - The Black Pinup Beyond vintage aesthetics, fashion, and photography, what messages and ideals do you try to present to your online following via your account? I often bring attention to historical and political ties to the minority communities of today. Racism still exists. Systemic oppression is still in effect. Social media is an avenue that invades a lot of social bubbles. People are being exposed to harsh realities that exist in the world around them. Some topics I share impart information that many of my followers have never been exposed to. The term influencer of course comes with some negative connotations surrounding consumerism, but having a large following does present the opportunity to have a positive impact on those who look up to you. What does it mean to you to be an "influencer"? Influencer, role model, inspiration, idol,

friend...these terms are very much related. We as humans are social and tend to gravitate to individuals who share our interests. I appreciate the adoration, but I breathe like any other human. I have learnt that people's opinions are like the wind, constantly changing direction depending on the circumstance of the moment. I choose not to put too much importance on opinions. Whether or not people "follow me" doesn't increase/ decrease my value as a human being. The vintage scene has a reputation for being supportive and inviting, but has also been criticised for under-representing women of colour and minorities and whitewashing vintage fashion. Are there any thoughts on this that you would be comfortable sharing? Let's just say the vintage scene has its positives and negatives like any other group. Hollywood already did enough to whitewash the standards of beauty and export its vision worldwide. So it is not surprising that repro

companies and pinup magazines gravitate towards women that look similar to the old Hollywood actresses and models. There are efforts made to be inclusive that I commend, but there are some strong mindsets that I believe taint this vintage subculture too.

oir

e_n u q i l e

the_a

The hashtag

#vintagestylenotvintagevalues

is popping up in people's bios of late to counter the assumption that people who wear vintage must also hold oldschool values. What is your take on the "vintage style not vintage values" movement? ERS

A TAZ S I appreciate the style of these periods, ER | APH R G TO PHO but I am well aware of the crap that women and minorities endured during these times. As a black woman, I sure prefer to exist now and do what I do. Society during those decades would have put up so many barriers that would have prevented me from being who I am today. I have friends of different nationalities, to me, constantly blowing in different I enjoy travelling, my interracial relationships directions. As a result, I have learnt to try not would have been forbidden then...too much to take it to heart when people try to tear of what I am today is shaped by my diverse me down...the key word is TRY ...but I am far environment and interests. I enjoy the vintage from succeeding. aesthetic, but abhor the so-called "good old days" of overt acts of oppression. What are you doing right now â&#x20AC;&#x201C; outside of UND

How do you avoid, or deal with, the negative aspects of social media, which have a grave impact on so many people's mental health and self-esteem? I simply limit how much time I pay attention to it. The opinions of people are like the wind

the social media sphere â&#x20AC;&#x201C; that we should know about?

I am working on some things that involve costumes, fun, and more. I can't talk about it right now, so people will eventually find out via my Instagram. Stay tuned!

Mari Mambo Entrenched in the world of Los Angeles vintage since she was introduced to it at a young age by a neighbour, Mari Mambo is a pinup and vintage dealer with a vibrant personal style. She stocks an amazing selection of vintage, specialising in 1930s to 1940s rayon frocks that hold “condition, colour, rarity and cut” as her “simple as sunshine” rule of thumb. As an internationally published pinup, she aims to inspire others towards success and believes pinup is an art form that fosters the development of individual style. Beyond vintage aesthetics, fashion, and photography, what messages and ideals do you try to present to your online following via your account? My message is plain and simple. Be proud of your background while inspiring and uplifting others in our community by spreading self-love and personal growth for all women. The term influencer of course comes with some negative connotations surrounding consumerism, but having a large following does present the opportunity to have a positive impact on those who look up to you. What does it mean to you to be an “influencer”? To influence, for me, means to spread wellness and positive vibrations. My main concern for my following is to change and break away from negative social patterns and routines, all while striving to change. The vintage community is often highlighted as being encouraging and supportive, unlike so many other online communities. What has been your experience in the vintage niche on social media? My personal experience has been outstandingly beautiful. On a daily basis I see and follow so many fabulous accounts that spread so many positive stories, messages, memories, and characteristics, all while doing it with their own unapologetic voice and style. It truly gives me life to see all the support our community spreads. The hashtag #vintagestylenotvintagevalues is popping up in people’s bios of late to counter the assumption that people who wear vintage must also hold old-school 54

values. What is your take on the “vintage style not vintage values” movement? Living in a modern society, I feel that we are able to preserve the beauty and uniqueness of yesteryear without bringing to the present day any of the horrible old school beliefs. I say, let's keep the sweetness while losing the sour. Can you dig it? How do you avoid, or deal with, the negative aspects of social media, which have a grave impact on so many people’s mental health and self-esteem? Negative connotations are sometimes hard to avoid when spreading positive messages. I personally feel that individuals that intentionally attack others should definitely be accountable for their actions. As a vintage community, we should bring any negative feedback to light to assure individuals that they are not alone and that we will not stand for any personal actions that might affect a person's mental health or well-being. What are you doing right now – outside of the social media sphere – that we should know about? Plug away! Good question. I’ve currently just finished filming a music video with a Grammy nominated band. It was definitely thrilling and beyond inspiring. Honestly, my city has given me so many opportunities to grow and aspire with confidence, all on my doorstep. I'm reigniting a passion I've had for quite some time now that has led me to personally styling a couple of talented musicians this summer in true vintage fashions. It's something that I have always been interested in doing. I'm beyond eager to see what the future has in store.

miss.ma

ri.mamb

Fran Robertson A self-proclaimed “decorator of people and things”, Fran Robertson is a creative steam engine with many feathers to her cap. From fashion design to hair and makeup artistry to special effects and prosthetics-making, she seems to do it all – oh, and she’s Miss Viva Las Vegas Pinup 21 too! Many of us know her from her crowning moment at Viva, but she reveals that she had believed it to be unattainable. However, it didn’t take long for Fran to amass a following that love her for her colourful sense of style, bold attitude to life, and frankness about living with a disability.

islan _ y s a t n fra

T VIVA PHER A

GRA PHOTO

GAS

LAS VE

Beyond vintage aesthetics, fashion, and photography, what messages and ideals do you try to present to your online following via your account? My social media presence is a big ball of chaos, with a focus on disability and intersectional feminism, but I'm also a huge supporter of small female-owned businesses, and I make sure to ram that down people's throats. Your purchases can change lives, so use your wallet to support badass boss ladies who are doing great things! Buy from minority businesses! Help fund the dreams of people who make beautiful things by hand! Shop second-hand and support charities! The term influencer of course comes with some negative connotations surrounding consumerism, but having a large following does present the opportunity to have a positive impact on those who look up to you. What does it mean to you to be an “influencer”? I'm less interested in influencing what people buy, and more interested in influencing how people think! There are billions of people on this planet, all with their own unique perspectives, and mine is just one of those – but changing the way we interact with others starts with connections, and social media gives us so much opportunity to connect with people who challenge the status quo! The vintage community is often highlighted as being encouraging and supportive, unlike so many other online communities. What has been your experience in the vintage niche on social media? Our community is like no other, especially being in little old New Zealand and making meaningful connections with people all over the world – it's pretty special, really! I think it stems from the fact that most of us have been on the fringes of what's “normal” for most of

our lives, and when you're a bit of a weirdo you know better than most the damage that isolation and “othering” can do. It's created this warm little space on the internet where people truly care about other people, and that's something we need to celebrate! The hashtag #vintagestylenotvintagevalues is popping up in people’s bios of late to counter the assumption that people who wear vintage must also hold old-school values. What is your take on the “vintage style not vintage values” movement? Nothing frustrates me more than people who say they were born in the wrong era! Obviously, there are things that could be better, and we need to continue to work at making the world a better place, but we also have choices available to us that our mothers and grandmothers didn't have. Women can own property, choose to be child-free, earn our own money, and stay unmarried. Almost everywhere in the world, the LGBTQ+ community are allowed to love and be loved. Men, women, and everyone in between, of all ethnic backgrounds, are allowed to sit wherever they damn well please on the bus! We have a long way to go, but we've come a long way too, so the idea that people would want to go backwards from that just because the music was better is really upsetting. What are you doing right now – outside of the social media sphere – that we should know about? Plug away! I'm currently gearing up for our big summer events season, so if you're a Kiwi babe looking to head along to any of the fabulous markets, car shows, and vintage festivals all over New Zealand later this year, then check out The Beauty School Dropouts for all your hair and makeup needs!

Jenny Rieu Jenny is a self-represented model and marketing guru with an amazing array of lingerie brands in her portfolio, from the UK to the US and across Europe, including Harlow & Fox, Curvy Kate, Aubad, Dita Von Teese Lingerie, and Ashley Graham. After battling with fibroids and experiencing fluctuations in her weight as a result, Jenny decided to embrace the changes and says she started modelling as “a form of therapy to love (her) new curves”. The key to Jenny’s success is by far her determination; she goes the extra mile to reach her goals and creates her own opportunities. She now has her own company – OH LA LA PR – and has carved out a niche for herself in the luxury lingerie market.

Beyond vintage aesthetics, fashion, and photography, what messages and ideals do you try to present to your online following via your account?

buying vintage items and slow fashion matters more to me than anything... because truthfully, how much do we really need?

My account is a celebration of following my dreams and carrying myself with strength and elegance. I care deeply about every piece of content I share; for me it is a way of expression and it allows me to portray myself exactly how I am. This is not a fabricated image of myself; I love beautifully made clothing and lingerie, I care about body positivity, and I have a point of view and a story to share.

The vintage community is often highlighted as being encouraging and supportive, unlike so many other online communities. What has been your experience in the vintage niche on social media?

The term influencer of course comes with some negative connotations surrounding consumerism, but having a large following does present the opportunity to have a positive impact on those who look up to you. What does it mean to you to be an “influencer”? I have promoted a number of repro brands in the past, and, later on, lingerie brands that I carefully selected. But when I started my lingerie column on the Lingerie Journal back in 2016, I remember writing about the fact that I felt like less of an artist when I worked with and endorsed too many brands at once…it allowed me to have time to reflect on my purpose on the ‘gram and beyond. I was able to create another niche for myself and explore other creative avenues. Before being an influencer, I am a person with core values, and I have discussed before why 58

It’s funny that you mention that, as I have mixed feelings about our scene. Repro brands have made me feel like they didn’t value my work, and they made it clear they didn’t want to pay for sponsored content with me…that’s why I started distancing myself from that scene. Now, (through) the body positive and lingerie niches, I have received support and re-shares, which have allowed me to grow and touch more people. I will mention Pinupworship and Blackpinup Models: two pages that have helped me grow tremendously. My work as a PR for brands (and) my various modelling experiences have also played a major role in some of the positive experiences I have had. But, like in any other community, our retro community faces challenges…I still see a ton of thin privilege that is unspoken. I once overheard the owner of a vintage-inspired lingerie brand and his photographer comment on my body while on set. I sucked it up and finished the job, but that was something that hurts me deeply to this day.

The hashtag #vintagestylenotvintagevalues is popping up in people’s bios of late to counter the assumption that people who wear vintage must also hold old-school values. What is your take on the “vintage style not vintage values” movement?

are in order, it’s impossible to let social media affect you – it’s not real!

I have seen some posts about it, but haven’t really paid attention to it, so I will need to look into it. I do think that’s great, but I know for a fact that it doesn’t reflect everyone within the community. I do like the baby steps that the community has been taking, and I love for instance the fact that Tom Ingram banned the Confederate flag from Viva Las Vegas this year. He got a lot of shit for it, but I respect him for making such a bold and important statement.

I am building up a new brand, and I cannot talk about it because that will jinx it! One thing that I have discovered is that I have a talent for marketing and building up brands that I genuinely believe in. So I am focusing on that right now. I have a couple of editorials coming out this month with VoyageLA about being a trailblazer, and another one with Joseff of Hollywood Jewellery for their website. I always love to go where people don’t expect me to be, as I want to see what I can do. ♦

How do you avoid, or deal with, the negative aspects of social media, which have a grave impact on so many people’s mental health and self-esteem? I do a lot of yoga and stop posting for a while. At some point I became a posting machine and I did that for years. But after having major meltdowns countless times and losing sleep, I have learnt my lesson. It’s just not worth it. If social media makes you feel bad about yourself, just leave it for a while. Live your life without documenting every moment – at the end of the day, who really cares? I feel like over sharing PHOT OGRA PHER | Heidi Calvert is still a problem, and I privilege quality over quantity. Once your priorities

What are you doing right now – outside of the social media sphere – that we should know about?

jennyr

ieu

for Nu

bian S

kin

; MAK

EUP |

Beauty

is Life

; HAIR

| Jenny

Rieu

The History

of Gossip, l y E liza B y M ol

bet h

he gossip magazine – we’ve all read one whether we admit to it or not. You might find yourself coming across one in the local convenience store or supermarket, and you might have a sneaky peak at one during your trip to the hairdresser or nail salon. These magazines – the likes of Heat, OK! and Closer – are infamous in the United Kingdom for their rude, intrusive and yet somewhat entertaining stories about so-called celebrities, which make them one of the nation’s guilty pleasures. But where did these magazines designed for gossip and rumour come from and what is their history? The publication credited as the first gossip magazine was launched in 1916, in the city that never sleeps – New York. Broadway Brevities and Society Gossip was originally full of stories covering high society and the A-list celebrities of the infamous New York theatre world. It questioned whether Theda Bara was alive or dead, and covered the latest scandals of the famous “follies” and Broadway’s intimate gossip. Humans, however, have a real taste for scandal, and so by the 1920s, the magazine focused on the ruin of reputation, a trend we still see to this day. The magazine often hinted at the same-sex relationships of prominent entertainment stars, and even ran a series where the sites for same-sex 60

mingling happened in Manhattan were revealed. As a result, the magazine’s editor, Stephan Clow, a Canadian who had moved to New York in the 1890s, was imprisoned and convicted of using the magazine as a form of blackmail. After his stint in jail, Clow re-established the magazine in 1930 to cover more generalised stories about drugs, sex and crime. The magazine now attracted readers from lower classes; however, it flopped again in 1933, never to be seen again. It may have had some quite severe ups and downs, but it did pave the way for a new somewhat more relaxed, and satirists could get kind of tabloid, one of rumour and dirty secrets. away with crueller depictions of the government and celebrities. In France, there were countless satirical drawings of Marie Antoinette-esque hairstyles that almost didn’t fit on the page, and in the UK it was the norm to depict King George the IV as short, stumpy and stupendously fat. In the 19th century, even Charles Dickens’ novels provided a prime piece of satire for the nation to indulge in, with one chapter per novel being released every two weeks in the tabloids – it was almost like collecting football stickers, but with more doom and gloom and general poverty. The popularity of satire boomed even higher during the Cold War; the news magazine Private Eye was founded in 1961 with the aim of mocking the leaders of the day and their decisions, but also of explaining to the general public what was happening in a lighthearted manner. With its over-the-top cartoons and depictions of leaders, it remains today the best-selling current affairs magazine in the United Kingdom. Of course, gossip and rumour have been around as long as humans have graced this earth. It has become nakedly apparent that we have a gruesome desire to rip down those whom we don’t see as fit, and as people are now able to post on the internet, gossip has Mocking celebrities isn’t a new thing, though – become bigger than ever. However, it really it’s even older than the tabloids of 1916. With the started to grow in the last century. In the early birth of the printing press circa 1440, satire began 1950s, as the success of television grew, the to become the norm, although it was a rather film industry had a momentary decline and dangerous game to play if you wanted to avoid a so something had to be done to shine a light little trip to the hangman’s noose. However, by the on the glimmering stars of the silver screen 18th century, with more power now in the hands once again. of Parliament, the rulers of Great Britain were 61

Enter: Confidential. Launched in 1952 by publisher Robert Harrison, the idea of Confidential was, it was said, to name names, and this is precisely what it achieved. It did in

know about the people you know”. Confidential, however, ran into many legal battles, which led to its fall. The magazine was accused of fabricating stories, and there was also a sticky situation where two defence witnesses “unexpectedly” died before they could testify in court. In the end, Confidential agreed to run only positive and happy stories free of scandal and gossip, and it never picked up as it had before. Confidential was officially shut down in 1978. The vast majority of modern gossip magazines and news outlets, such as TMZ, are inspired and based on the frontrunner that was Confidential. Fast forward to the Kardashianobsessed mania that is the 21st century and it isn’t that different a story. NOW was launched in 1996; it was designed to be a less serious gossip magazine aimed at women, and with reality TV starting to flourish, its pages were full to the brim. NOW closed in April 2019, but many other similar tabloids are still in circulation. Perhaps more popular, as we near the 2020s, are online tabloids, where all your gossip cravings can be fulfilled at the tap of a finger. Celebs Now, OK!, Closer and many more all have online websites, which makes indulging in these frankly ludicrous stories far more inviting. You can spend countless hours simply scrolling these websites, clicking from one story to the next. It does seem, however, that although gossip magazines were originally meant to be high profile and covered the top A-list celebrities, the entry requirement has now dropped so low it is almost negligible. Anyone with a vague “celebrity” status can sell their stories, wedding photos and gossip for some cash, and in return their fame increases, though often at the cost of a lot of drama.

the 20th century what many a magazine does in the 21st: it sought to expose celebrities who were in the closet, having marital difficulties or in rehab. The magazine changed the way Americans viewed their beloved movie stars, with headlines ranging from Desi Arnaz having an affair with a prostitute to a dinner party where the actor Robert Mitchum stripped completely bare. Due to the roaring success of Confidential, there arose subsequent similar magazines such as Exclusive, Hush-Hush and Exposed, all of which were designed to share the “stories the Inevitably, due to human nature and our innate newspapers won’t print” and “what you don’t desire to tear down people in higher places

than ourselves, the gossip magazine is and always will be around in many formats. From Georgian satirical cartoons to drama-based YouTube channels, our need to nitpick other people’s lives and divulge their mishaps is one of society’s many downfalls, and although we do not always condone this behaviour, a small part of us still wants to get involved. The majority of us would hide in utter shame and disgust if any of the stories published were about us, but still we encourage these magazines to run stories that often shame people. Perhaps mankind’s greatest hubris is our hypocrisy and dishonesty. ♦

Body of WorkA Brief History of Female Tattooing By Dana Moreno

s an art historian, I’ve always been fascinated with history and past people’s lives and stories, especially of women in the 20th century. Recently I also became interested in beauty marks and tattooed women in history, so I was excited to write this little piece. As the history of tattooing is very extensive, the following paragraphs will be a more female focused overview of the practice of tattooing through time. Tattoos are a type of body modification known for thousands of years where a design is made by inserting ink, dyes and pigments, either indelible or temporary, into the dermis layer of the skin to change the pigment. When doing some research, I found that there are currently more tattooed women than men in Western countries. Most people may think of women with tattoos as a modern phenomenon and some attribute this ‘new trend’ to the influence of feminism, but there is a rich history of women and tattoos that goes way back. There is archaeological evidence that confirms that people have been tattooing their bodies as far back as the fourth millennium BCE!

Etymologically, the word tattoo is fairly modern, dating from the 18th century. In Samoan tattaow, tattow, Polynesian (Tahitian, Tongan, etc.) tatau, meaning “to strike”. In Japanese, the word irezumi means “insertion of ink” and horimono, for traditional Japanese tattoo designs. But before the importation of the Polynesian word, this practice was described in the West as painting or scarring. Prehistoric finds show the characteristic skin-puncturing techniques applied, using a small mallet, razors, needles or pins and small containers of dried carbon-based black pigment. These mummified bodies are covered in different sized marks and tattoos, such as Ötzi the Iceman (who made it to mainstream news in 2015). He was found in glacial ice in the Alps and was dated to 3250 BCE, making him the oldest most heavily tattooed mummy, with a whopping 61 tattoos on his body. When we look at the evidence found in burial sites, we realise there is a large number of female tattooed mummies. This is the case for the Chiribaya Mummies (800 – 1350 CE, Chile and Peru), with symbols including scroll work, birds, apes, reptiles and circles; or the Pazyryk Princess of

Ukok (c.500 BCE, Altai Mountains, Russia), who presented elaborate mythological deer-like tattoos. The princess was believed to be of high status or a holy woman because she was buried with six horses and was dressed in fine clothing. In Ancient Egypt tattoos were mainly worn by women. These tattoos represented class or religious devotion and they were worn as a method of healing. The mummy known as Amunet, buried with other

priestesses of goddess Hator (2134 – 1991 BCE), had tattoos of dots and dashes with some forming concentric circles. When she was discovered in the 1890s, she was considered to be a prostitute or concubine. However, today’s research suggests that the tattoos represented the priestesses’ connection to Hathor, who were on Earth to guide and protect women through childbirth. Ancient traditional tattooing was most widely practised for identification accomplishment of rank in the Proto-Austronesians in Taiwan and China before 1500 BCE and their expansion into the Pacific islands, Papua and Melanesia. Also by: the Ainu in Japan; Berber in North Africa; Yoruba, Fulani and Hausa people of Nigeria; in the Philippines; Pre-Columbian Native Americans; Pre-Christian Germanic, Celtic and other tribes in Europe, such as the Picts of Iron Age Scotland (famous for their black and blue tattoos); the Thracians and Scythians. However, other cultures such as the Romans and in Japan (until the early Modern period) used it as a way of punishment and to mark slaves and prisoners. Under Christianity, tattoo practices declined in Europe as it was considered barbaric, but it never disappeared completely. During the oceanic voyages and conquests of the 16th century, travellers and exporters brought back to England tattooed ‘natives’, oftentimes for public display. In the Old World and Americas, tattooing became popular among sailors and they were methods of self-expression and identification. By the 19th century, tattooing was popular among commoners and crowned heads alike. It wouldn’t be until the late 17th century that the modern tattoo trade would begin in Britain – with tattoos as commodities – with pilgrims. Wealthy men would travel to Bethlehem, Jerusalem and Nazareth and get tattoos of religious iconography when they were there. It is said that these two combined would form the basis of the Western tattoo tradition. There is extensive theological debate about tattooing being prohibited in religion, but even in Islamic cultures there’s an embedded tattoo culture. Tattoos became briefly fashionable with the British upper class during the late 1800s and early 1900s. 66

From sailors to famous women, like Lady Jennie Churchill, mother of Winston Churchill, or Queen Victoria (who was rumored to have one) getting tattoos of their own, tattoos soon became a symbol of status among the social elite. They were usually in places that were easily covered by clothes and designs ranged from insignia and scenes for men and butterflies to initials for women. Soon women started visiting parlours across Victorian England to get tattoos done with the newly invented electric tattoo machines. One of the most famous tattooists from this time was Sunderland Macdonald, who introduced high-end Japanese tattooing to the fashionable London clientele. George Burchett (from the Burchett brothers) not only tattooed his wife, but was able to count King George V, Spanish King Alfonso XIII and Denmark’s King Frederick IX amongst his customers in his Mile End studio in London. Shifting away from high society to more of an underbelly association, tattoos stopped being accepted culturally in the early 1900s until the 1930s. Some heavily tattooed women usually ended up performing in sideshows with traveling circuses. Some of the most famous tattooed women of the time included Artoria Gibbons, Irene Woodward (known as ‘La Belle Irene’), Nora Hildebrandt and Mae Vandermark. But it was Betty Broadbent who made history during the 1937 World’s Fair, where for the first time in history a fully tattooed woman was to appear in the first televised beauty contest. This paved the path of the following years (or decades) for tattooed women.

During the mid 1900s tattoos were more prominent culturally in some countries such as England. Now not only sailors got tattooed, it had become a hobby amongst men but also women. Pam Nash, who devoted her life to tattoos, was the owner of the famous design of a Chinese pagoda on her back by Les Skuse. Skuse was the founder of the Bristol Tattoo Club, open since 1951, of which Pam was a member and “the best tattooed girl of the year” in 1959. “It was “ladies night” on Saturday for the members of Bristol Tattoo Club when they held their sixth annual party in Pennywell Road. For the cause of the celebration was the presentation of a cup for “the best tattooed girl of the year” to Miss Pamela Nash, of Cheltenham. Making the presentation was Mr. Skuse, president, who has been champion tattoo artist of England since 1955.” But it was not only male tattooers who got to taste fame in the business; there were pioneering women who not only did that, but also contributed to the development of tattooing enormously. Maud Wagner, a circus aerialist and the first female tattoo artist, exchanged a romantic date with her (later) husband for a lesson in tattooing. Maud learned a traditional hand-poked tattoo method, which became her only method of work. Maud and her husband left the circus to tattoo full time, travelling around with Vaudeville shows, county fairs, circuses and curiosity exhibits, until her death in 1983. They helped bring tattooing inland, popularising it not just in the coastal and Naval towns in America. Her last tattoo is said to be a traditional rose she tattooed on fellow artist Don Ed Hardy. Also inspirational are Jesse Knight, Millie Hull and Whang-od Oggay. Knight was Britain’s only female tattoo artist in the 1920s. While her work didn’t receive the recognition it deserved at the time, she pioneered the way for female British 68

artists and tattooed until 1963. Across the pond, Millie Hull was the only female tattoo artist on the Bowery (Manhattan) at the turn of the century. She learnt to tattoo with Charlie Wagner and even owned her own shop front, tattooing sailors, gangsters etc, being usually credited as the mother of modern tattooing in the United States. Lastly, I wanted to finish with world-known Whang-od Oggay, the last practicing batok style artist in the world. Her efforts in preserving this ancient practice are essential to not only the culture, but its history. She still uses a pomelo thorn attached to a stick to ink a mix of charcoal and water into the skin, creating tribal patterns. At age 97, she continues to shed a light on her country’s rich tattoo traditions. ♦ To read more about this fascinating subject: Margot Mifflin’s “Bodies of Subversion: A Secret History of Women and Tattoo, 1997.

A film fan uses a mirror to admire the image of film star Gary Cooper she has had tattooed on her back by George Burchett a London tattooist- Photo by William Vanderson-Fox Photos-Getty Images; 14th November 1936

Portraits o with Ta

A collection of photos se

Doris Sherrel getting her social security number tattooed by Jack Julian; 1942

A tattoo artist paints a permanent beauty spot onto the cheek of a female client at his workshop in Copenhagen; Photo by John Firth - BIPs - Getty Images; May 1956

of Women Tattoos

elected by

Laura Butcher

Betty Broadbent at the New York World's Fair Courtesy of The New York Public Library; 1930s

Tattooist Les Skuse works on Pam Nash; 1960

Celly d'Astra Cabinet Card; 1920

Islamized & tattooed Armenian woman – Karen Yeppe Alboom; AGMI Collection; 1920s

Kabyle Woman – Algeria; Postcard image by Arnold Vollenweider; 1903

Bedouin woman - David Shapinsky; Wikipedia Commons; 1899

Stella Grassman â&#x20AC;&#x201C; National Geographic; 1931

Illicit Liaisons: An Exhibition on the History of Porn By Gabriela Schunn

Founded in 2002, New York City’s Museum of Sex was an award-winning cultural attraction within its first year of opening. Established on Fifth Avenue in the district that was once known as the ‘Tenderloin,’ an area known for its bordellos and dance halls, the museum has a permanent collection of over 20,000 artifacts relating to the history of sexuality, sex culture, and sex work, and has hosted over 30 large exhibitions and 6 full-scale installations since its inception. It has been voted one of New York’s finest cultural attractions, notably a safe-space for minorities and the LGBTQ+ community by media outlets such as Autostraddle, and is advised by a host of curators and artists alike, affiliated with institutions such as New York University, Planned Parenthood, the Kinsey Institute

for Research in Sex, Gender, and Reproduction, and the NewYork Historical Society. The current exhibitions include content on coded homosexual photography in the midcentury, intimate portraits of transgender women in New York in the 1980s, the relationship between punk and sex, and the origins of porn.

s the relationship between pornography and gender roles is something that we at the magazine are acutely aware of, the Vintage Woman Magazine was graciously invited to a private tour of the museum’s current exhibition on the history of pornography, STAG: The Illicit Origins of Pornographic Film. Curator and artist Lissa Rivera gave me the absolute star treatment, showing me around not only the entirety of STAG but the other exhibitions as well, including giving me access to the preview of their upcoming interactive show Super Funland: Journey into the Erotic Carnival. Lissa mentored the curator of STAG, fellow artist Kelsey S. Brewer, and while Kelsey was not available for questions, Lissa was able to give a thorough explanation behind the genesis of this exhibit, and the museum’s ethos itself.

o, you’re probably asking, what does this exhibition have to do with the Vintage Woman? Everything. Somewhere between an art and history museum, the Museum of Sex confronts the history of human sexuality and documents it. All of the footage within STAG is, well, vintage, and also tells us a lot about how we’ve internalized many of the things that can be seen in early pornography. Rivera talked with me a lot about how pornography inherently reflects the desires of a culture but also the inhibitions and taboos, and so interacting with vintage pornography can be seen as a way to take a really dive into the ethos of an era. You can see the trends of the time through the

Brewer has called The Stag Experience and The Office. The Office is a sort of art installation that she has referred to as a curated online exhibition that was created in conjunction with PornHub, and features a computer in an office setting that scrolls through and “researches” pornography, showcasing that the relationship between technology and desire has continued into the present. The “film” can be viewed online by museum visitors on their personal devices through a special page on PornHub’s website (pornhub.com/event/stag-museum-of-sex), a kind of interactive element that asks the audience to engage with the Enter the Stag. The name of the exhibition comes from stag subject, shall we say, even more intimately (all puns intended). parties, which in present-day generally refers to bachelor parties, but in this context also refers to secret events held by Similarly, one of the other most visually striking aspects of the middle-class white men either in legion halls, fraternities, or exhibition is at the very back and center of the large dimly lit brothels. Attendees would sit down and watch porn, usually room: The Stag Experience. The Stag Experience features a few with a sort of talk-back aspect where they would yell and jeer rows of real 1940s blue velvet theater seats and a film screen at the screen. The term ‘stag film’ refers specifically to short showing vintage porn. Over this silent footage, audio plays of black-and-white anonymously produced pornographic films, anecdotal interviews with people who remember attending which made up the vast majority of the first pornographic films stag film parties, along with input from sex historians, such as ever made. The first stag films can be traced back to as early as Joseph Slade. A quote from one of these people that particularly 1907, while the invention of film is stood out to me was, “ , I didn’t arguably a late nineteenth century know a woman could orgasm,” innovation, so it can be argued which brings us to part of the that humans have been producing function that the stag ended up pornographic films almost as playing. Just like how people view long as film itself has existed. Up pornography today, stag films until the early 1930s, stag films were often men’s first educational often included narrative plots and introduction to the mechanics of satire, elements that tapered off sex, and therefore shaped sexual after many filmmakers involved interactions between all those in production of these early films on the gender spectrum. So, in abandoned the industry. This turn, whatever the films were left the stage open for amateur showing was often whatever producers who preferred to focus people would then be trying out. on what historian Linda Williams Very frequently, viewers would refers to as the “meat shot,” have never talked about or seen or extreme close-ups of sex. sex before, and because of the Stag films over time have come already illicit nature of the films, to be associated with amateur sometimes they would include pornography with what Rivera calls an “intentional grittiness,” homosexual intercourse, fetish and kink content, and interracial or a sort of aesthetic simplicity; very grainy quality, maybe an intercourse. All of these things would be things that viewers, unflattering angle or two, etc. Another element that is apparently firstly, would not have likely seen before, and secondly, would be characteristic of stag films is that until the midcentury roughly accustomed to others being discriminatory against. Sometimes there was no sound, which at first was obviously run-of-the- these spaces were the only place that cis-gendered men could mill, since the transition from silent films to talkies didn’t really have access to expressing their sexuality freely because of this. happen until the mid 1920s. However, after this point it was an intentional choice that contributed to the sort of illicitness Dr. Joseph Slade memorably said that “the stag film introduced appeal of producing pornography, which was still illegal in most men to a spectrum of sexuality,” which obviously got me thinking American states and many other countries. The silence itself was in the moment about how women were introduced to sexuality yet another transgression of norms in terms of film production. in pornography. Allegedly, stag films arose that would feature a female protagonist enacting her own pleasure, many of which This particular exhibition was divided into ten different themes; featured lesbian intercourse and/or masturbation. While it is Innuendo, American Milestones, Shared Fantasies, Folkloric true that these were produced solely for the consumption of a Influence, Kinks & Taboo, Rare Examples, Female-Driven cis-gendered male audience who is meant to identify with the Fantasies, Liberation & Bondage, and The Erotic ‘Exotic’. Each of ‘instigating’ protagonist, the spaces where these were produced, these wall texts explain themes often explored in early stag films and by extension all places where sex work happened really, were and the implications of those themes in relation to other social some of the only spaces where women could be openly queer or norms of the time. Two additional elements that are particularly express sexuality and gender in any non-normative way. Rivera intriguing about this exhibition though are what curator Kelsey kinds of kinks and fantasies that were being proliferated by these films. Vintage culture is allllll about reverence for the aesthetics and culture of bygone eras, and part of examining that culture is understanding historical contexts. Lissa herself said to me that “imaginative sexuality is not new,” implying that many of the assumptions we make about how things “used to be” versus how they are now are simply false. The idea that open bawdiness is a contemporary trait is somewhat misplaced, as shown in this exhibition…

explained that the importance of the sex industry is partially rooted in its history of sometimes being a safe space for minorities, a history that is deeply important to the history of New York. Unfortunately, it was due to fetishization that people were allowed to more freely express themselves, a fetishization that sometimes puts lives at risk, but nevertheless exists. The curator vocalized that sex culture “is a culture that’s been wiped away in New York City,” and that the lives and histories of the sex workers who lived through the renovation of the ‘Tenderloin’ district were swept away with it. Part of the mission’s museum, she says, “is honoring the lives of those involved” in sex work while still “acknowledging the media reflects the era” in all of its fully problematic ways.

giggle but can’t seem to turn away from the content. Just as they did back then, many people still turn to pornography to learn about their bodies, about others’ bodies, and about the possibilities of sexual experiences. One of the last things she said to me in our time together was this: “We hope that people leave here feeling relief that they can have fun, learn things, and have safe space to explore their sexuality free from shame.” Perhaps what we can then learn from this exhibition is that we still learn by example as we always have, but perhaps that example can and should be more safe and inclusive for all. If you’re not jazzed up enough by my description of to visit the museum, then let me just tell you that you are in for a treat should you decide to because the exhibition they are currently installing, Super Funland, is fabulous. If you’re a drag fan, you may be pleased to know that the production of one of the games was assisted by RuPaul herself, and the bouncy cave full of boobs is raucous fun. And yes, the mechanical bull ride does vibrate like that… ;) ♦

www.museumofsex.com MUSEUM OF SEX

233 Fifth Avenue @ 27th Street, New York, NY

RETAIL STORE HOURS

Sunday - Thursday from 10:30 am to 11pm Friday & Saturday from 10:30 am to 12am

Rivera told me that roughly sixty percent of the museum’s attendees identify as female, and that many are young adults. MUSEUM HOURS: ADMISSION “We get lots of young folks, and it’s sort of a rite of passage. Sunday - Thursday from 10:30am to 11pm $16.50, $3 off student/senior/military People come in groups to learn,” she said, and that they often Friday - Saturday from 10:30am to 12am with valid ID

Photos courtesy of The Museum of Sex

Hawking Their Wears By Laura Butcher

Instagram has evolved in many ways over the past few years, one of which is its rise as an online shopping platform. We spoke with four women, all small business owners, who use Instagram to build their brands and sell vintage apparel and accessories.

Guermantes Vintage Janine Dagati of Guermantes Vintage began selling vintage on Etsy in 2012, and now sells through her own e-commerce site, GuermantesVintage.com. Like many, she began as a collector and an artist. Wearing thrifted and vintage clothing in her teens allowed her to explore her own style and the world around her.

Guermantes Vintage deals in a variety of periods, but most particularly in designs from the 1920s to the 1940s, and is well-known for selling the strange and unusual. “I’ve always loved and identified with old things. Ghosts, secrets, and the forgotten,” Janine says. A quick glance through her Instagram feed or shop confirms this, from the 1920s Schuco monkey makeup compact to the 1910s faux beauty marks. When Guermantes Vintage joined Instagram, Janine experienced rapid growth. Instagram allowed her to develop a much larger follower base, which she might not have reached through Etsy alone. However, Janine is the first to admit that using Instagram as a platform to promote her wares is not without challenges. Cue the series of dreaded algorithm changes in the past two years. When Instagram started giving preference to posts with higher engagement,

rather than listing the feed chronologically, Janine, like many others, saw a drastic change in engagement and reach. Even reaching dedicated followers has become a challenge. “I worry a lot about the amount of control private companies like Facebook (who own Instagram) have over business and society at large,” she says. Instagram, while still a free and fairly effective way to reach clients, is pushing business profiles towards paid advertising through sponsored posts. Being at the mercy of this “mysterious, behind-thecurtain” algorithm is certainly one of the biggest struggles when selling through Instagram. For Janine, the other negative aspect is the often anonymous cruelty that comes with having a public account. Of this negativity, she says, “I’ve been the recipient of cruel comments before and it’s a struggle to distance myself from that kind of thing emotionally. It can be an unpleasant glimpse into some disappointing aspects of humanity.” Janine’s face is notably absent from the Guermantes Vintage Instagram account. Instead, the account focuses on the pieces she sells, and glimpses of the history behind those pieces and similar ones. Running Guermantes Vintage is a labour of love for Janine, and the changing nature of Instagram has brought her less joy over the years. Social media marketing is a full-time job for any business, and Janine recognises that it can easily pull her away from other preferred and important tasks. Because she does not sell directly through the app, she limits her daily Instagram use, and makes use of the built-in reminder tool to keep her on track. Her advice to those who seek to buy vintage via Instagram: “Follow, engage with posts, comment on, and turn on notifications for sellers that you really love. You’ll see their posts more regularly and will be less likely to miss anything.”

Lydia 1940s Lydia, of famed Instagram account Lydia 1940s, began selling vintage in 2011, when she quit her full-time job to stay home with her then five-year old daughter. She began buying mostly clothing from the 1950s, but then discovered pieces from the ‘40s and developed a love for the style of that decade. Lydia 1940s is not focused solely on the sale of vintage clothing, but also on fashion history, primarily from the 1930s to the 1950s. Film clips and old publicity stills compliment the items she has for sale and those in her personal collection.

says. Of late, Lydia has transferred much of her time to buying for private clients. Through Instagram, she has developed a loyal following of repeat customers, whom she always keeps in mind when she shops. While Lydia did notice a drop in post engagement after the Instagram algorithm change, she found that it really hasn’t affected her business. In her words, “good vintage will always find a good home.” She is always careful to source items that are in good to excellent condition, adding to her impeccable reputation in the vintage business.

When Lydia began selling vintage on Instagram, she started by buying random items, many of which wouldn’t sell right away. She found that experience has helped her understand what to buy and what will sell. Keeping an eye on changes in the market and within the Instagram vintage community can help inspire her own purchases for resale. Over the years, Lydia has adjusted her style of presentation. Originally presenting pieces on a dress form, she discovered that “there’s nothing like showing clothing on a real body.” Lydia models many of the pieces she sells, and confesses that it is difficult to let pieces go if they fit her. Her personal style and obvious love for vintage clothing act as both inspiration and as the perfect advertising for her business. With regards to using Instagram as a business platform, she admits that she doesn’t spend as much time posting on the social platform as she used to. “It takes a lot of time, and the constant need to post things that are interesting can be quite draining at times,” she

Her advice for those interested in buying vintage through Instagram: “Know your measurements. Things go fast, and if you don’t respond in a timely manner they may be gone.” 79

Cheshire Vintage Sara Leonard of Cheshire Vintage began selling clothing 15 years ago on eBay to make some extra cash while she attended college. She found herself naturally gravitating toward vintage pieces at secondhand stores, knowing how special and unique they were, and has been hooked on selling vintage ever since. Nine years ago, selling vintage apparel became Sara’s full-time job; she created an Etsy shop, which later became Cheshire Vintage, and also has a website, CheshireVintage.com.

Sara reliably lists unique pieces on her site, typically ranging from the 1920s to the 1960s. “With all the years I’ve been selling, I’ve seen a lot of vintage garments,” she says, “so I am always trying to find something undiscovered. A conversation starter, or a reason for someone to come up and compliment you. Or silently envy you.” Cheshire Vintage not only features good condition vintage; it also has a line of original pieces. Cheshire Vintage Originals are fabricated using vintage fabric, patterns, sewing techniques, and supplies, and are primarily made by Sara’s number two, Heather. The Cheshire Vintage Instagram profile has helped Sara increase the visibility of her business, and drives traffic to the Etsy shop. While most people focus solely on the change in the Instagram feed algorithm, Etsy has had its own search changes in recent years. In order to deal with both of these updates, she relies on the use of preview posts on Instagram to notify people of items coming up for sale. “By waiting a few days and then listing, I can better ensure that my customers actually see the items I have,” she says. “Then I tag them when available so they don’t have to worry about missing it.” Sara acknowledges that some people

aren’t happy with this, but it’s the best tactic she has to combat the algorithm changes on both platforms. For Sara, producing the content for the Cheshire Vintage Instagram account is the easy part, taking up about seven hours a week. The fulltime aspect of running the social media for Cheshire Vintage is engaging with followers and potential clients, answering questions and direct messages, and honouring tag requests. From the beginning of her career selling vintage, Sara has made it a priority to provide superior customer service. “I formed Cheshire Vintage wanting to set an example that both [high quality product and customer service] are possible, and hopefully I’ve helped steer the future of vintage in the right direction,” she says. While balancing the timeconsuming tasks related to Instagram with the million other aspects that go into running one’s own business, Sara has learned to go with the flow. As each day brings unique opportunities and unforeseen needs, she tries not to dwell on the negative issues that sometimes arise with the social media platform. She acknowledges that the future of Instagram is uncertain for small businesses, but doesn’t spend time worrying about it. Her advice for those who buy vintage online: “At the end of the day, you need to find the real shining stars – the vintage sellers who work hard, go the extra mile, and treat customers the way we WISH past bad experiences had gone. And once you find them, continue to support them with your Instagram likes, some hard earned dollars, and positive feedback. Also, don’t forget to post those customer photos too! We LOVE them!”

Butch Wax Vintage Amanda Suter of Butch Wax Vintage has been selling vintage clothing professionally through Butch Wax Vintage since 2010, but had been selling casually “on the side” before that. With seven years of experience in the vintage industry, and having personally explored vintage style since the age of 16, selling vintage came naturally.

Amanda doesn’t follow trends in the vintage world, instead following her gut and buying what she likes. She has favourite silhouettes that she gravitates towards, like jumpsuits and New Look, but always ensures that the pieces she sources are high quality and interesting. She is considered by many to be a font of knowledge for vintage fashion, designers, and laundering. “My in-depth knowledge on vintage designers and history has definitely broadened since having my business. And, with the help of my boyfriend, my knowledge for hand laundering vintage and taking care of it,” she says.

She began selling Butch Wax Vintage items through Etsy and Facebook groups, which is where the brand gained its following. These sites still exist, and she also

has a website, ButchWaxVintage.com, but Instagram is Amanda’s main focus and current platform of choice. “I think Instagram is so attractive to buyers and sellers because it is so fast paced,” she says. “Everything is available and just a DM away.” Amanda enjoys selling through Instagram because it opens up a dialogue with a client; they have to direct message to inquire about a piece, which makes the experience more personal. “I have met a lot of wonderful clients who have turned into friends through Instagram, and many of them consider me a personal shopper of sorts.” If you are familiar with the Butch Wax Vintage Instagram account, you’ll understand why Amanda might be considered a workaholic. She shares multiple posts and stories per day, but considers it a labour of love. Rather than set herself a work schedule or time limitation, she takes inspiration from the pieces themselves. “It’s all very spontaneous,” she says. “I don’t plan photo shoots, I don’t plan content that I’m going to post, it just happens organically.” Amanda models the pieces she sells, and does all of the photography and posting herself. As a small business owner selling through Instagram, she has faced her share of obstacles. The very tools that Instagram provides for brand recognition, such as customised hashtags and algorithm updates, also put small businesses at the mercy of the social giant. On more than one occasion, Butch Wax Vintage has experienced shadowbans. This is when content, like branded hashtags, is concealed from followers. 81

Because Butch Wax Vintage is as much a lifestyle brand as it is a vintage clothing company, it has a number of associated specific hashtags, and hashtag “overuse” has been listed as a possible cause of Instagram shadowbans. Frustratingly, Instagram doesn’t provide feedback for users affected by shadowbans, and they make it impossible to talk to someone if something bad does happen to an account. Amanda says she would gladly pay for a premium business option if it resulted in a secure, protected, and visible account, and that others likely would as well. Despite these hurdles, Amanda continues to grow Butch Wax Vintage, with the help of her shipping assistant and a professional seamstress, who is “a true magician with clothing.” Through Instagram, Butch Wax Vintage has evolved from a vintage clothing company into a positive source of light for many followers. ♦

“One of the biggest compliments I often receive from people is when they tell me that I just simply brighten their day. They wake up and they automatically want to see what I have posted. How I present clothing makes them smile; it makes them step back from their day-to-day life, just for one minute. And in today’s crazy world, what is the harm in that?” -Amanda Suter Butch Wax Vintage

Getting Perfectly Sweet WITH SHURLEE SWEET

Product Links Setting Lotion Foam Rollers Hair Pins Teasing Brush Grooming Spray Sectioning Clips Hair Spray

e hope you enjoyed Shurlee's hair tutorial. Now let's get to know this ravenhaired Mistress of Spook a little better.

Can you tell us a bit about yourself? What is your heritage, where do you live, and how have those things moulded you to be the person you are today? I was born and raised in Southern California, and I am currently still there, just moved around different areas. My background, or I guess where my parents are from, is my mom is Mexican and was born in Mexico, and then it gets a little complicated on my dad’s side. My dad was born in Sri Lanka, but he is half Sri Lankan and half Lebanese, so it makes me quite mixed, but then again, I think we all are. The world has been around for a mighty long time, so how can we not be? I grew up with mostly my mother, and I feel the way anybody grows up definitely has a gigantic impact on who they’re going to be later in life. I definitely think my upbringing did. I do feel closer to my Mexican side because that’s what I was around

most, and growing up really close to Hollywood I feel like over there most people are really open minded, and that’s how my mom raised me. She was always supportive of any path I wanted to take, any positive path, and I think because of the way she raised me and my environment I am definitely the way I am today because of it. If you could explain your style in 5 words, what would it be? This is always a tough question for me because I don’t really like to have to explain my style or choose words for my style because I really think everyone is unique, even if it is within a certain scene. I feel like people tend to put their own twist on things but if I tried really, really hard to choose five words, I think I would choose vintage, antique, recycled (my boyfriend helped me come up with that one), historic, and maybe spooky. Tell us a bit more about your love for vintage style and gothic aesthetic, and how you put outfits together. My love for vintage style started at a very young age because of the people I was surrounded by. My mom loved to watch classic films and period films, my grandmother loved Elvis, and I remember watching I Love Lucy with my grandfather. I didn’t dress like this when I was a kid because I wanted to fit in, but the second I decided I don’t care anymore is really when I started jumping into the style, so I feel like my love for it started at a very young age and just grew stronger and stronger. I started off with the love of just 50s fashion, and then later it went to 40s, and now it’s really going into the 20s, early 1900s, and late 1800s. I just really love how the 20s dresses were kind of flowy, and the large bustle-type dresses or princesslike dresses from the early 1900s in the 1800s. I don’t really consider myself to be Goth. I kind of feel like I just really love the aesthetics of Victorian mourning fashion, so I definitely do you like to mix that into my wardrobe. I usually just put my outfits together based on how I’m feeling that day or the type of event I’m going to be attending. I definitely like to dress the part, so if I’m going to a Victorian mourning tour I’m going to dress accordingly. If I’m going to something like the great Los Angeles Air Raid, I’ll definitely be dressing more 40s, and that’sbasically how I decided.

If you could have a dinner party with 5 people dead or alive, who would those people be and why? So, I feel like this question usually gets answers like Marilyn Monroe or, you know, Lucille Ball or Rita Hayworth, like famous people, but for me anytime I think of this type of question, I would absolutely love to sit with everyday people from the decades that I love the most, and specifically people of color because I feel like in all our history books we are hearing one side of the story, so if I could sit down with a person of color, whether it’s somebody from my background or any background, minus European, and just get their point of view what was life like for them, that would be an absolute dream. You have a signature of putting blush on the tip of your nose--how did that come about? So, obviously I love history, and I love reading about all aspects of it and getting as much knowledge as I can soak in. One day I was reading a history book on makeup and I read that in the late 1800s basically they didn’t wear too much makeup but they did wear blush, and one of their signatures was to put blush on the tip of their nose because they liked the look of looking cold. Being that I’m from Southern California where is hot all the time, if I just put in my head that I’m cold will make me happier than when I am sitting here sweating, but I really like the idea of it, so I tried it out one day and absolutely fell in love. From that day forward I just continued to do it. You have a signature of putting blush on the tip of your nose – how did that come about? So, obviously I love history, and I love reading about all aspects of it and getting as much knowledge as I can soak in. One day I was reading a history book on makeup and I read that in the late 1800s basically they didn’t wear too much makeup but they did wear blush, and one of their signatures was to put blush on the tip of their nose because they liked the look of looking cold. Being that I’m from Southern California where is hot all the time, if I just put in my head that I’m cold will make me happier than when I am sitting here sweating, but I really like the idea of it, so I tried it out one day and absolutely fell in love. From that day forward I just continued to do it. If you could collab with any YouTuber, who would it be with and what would the video be about? I feel like there are so many talented people out there that it makes it hard to narrow just a few down. I think one of them, and she’s fairly new to YouTube but she’s amazing, is Christine McConnell.

I don’t think there is anything that woman cannot do and I love her so much. I think the video could be literally about anything because she can literally do everything and excels in anything. She makes her own dresses, she bakes, she just recently reupholstered or basically made her own couch, and I just think she’s incredible. Another YouTuber I would absolutely love to collaborate with with is Lisa Eldridge. She is an extremely talented makeup artist, but what I really like about her is that she likes thehistory aspect of it as well. She has a series on historically accurate makeup, and if I were to be able to collaborate with her that would be something, I would definitely love to do with her. Your top 5 beauty products you use daily? Two of my top favorite beauty products I use daily are some things that are already on me, and I think those would be my eyelash extensions because I cannot live without them, and I get them done by the extremely talented Lash Babes by Rox, and my nails which are done by the amazing Clawed by Jojo. Although I am currently taking a break for my nails because of work, when I do have them on I just feel that much more extra or spooky. Even I don’t know why, it just gives me a different kind of feeling, and I love it so much. When it comes to hair products, I think the two things I cannot live without are my setting lotion for when I wet set my hair because my hair stick-straight and that is literally the only product that can help make my curls last longer than just a day. Suavacito’s grooming spray has been my favorite. Before they even came out with a line for women, I was just stealing my boyfriend grooming spray, but it really helps me and style my hair every single day. The last beauty product I cannot live without, and I feel like every vintage-loving girl would say this, is probably my lipstick. When I go to work, because of my lashes, all I put on is a little bit of concealer, then a little lipstick, and I’m good to go. It makes me feel alive and ready to take on the day. If you were stuck on a deserted island, what 5 things would you bring with you and what one song could you listen to on repeat? If I was stuck on a deserted island, I would probably bring a couple of books to read to read over and over until they rescue me, a journal because I like to write down my thoughts or ideas or just doodle. I’m no artist but I enjoy doodling. I would probably also bring a blanket because I like to be comfortable when I sleep, some drinkable water because I am a fish, and my boyfriend to help me gather food. The one song I can listen to would have to be “Moonlight Sonata.” I could listen to that on repeat forever!

Your favourite vintage clothing store and reproduction clothing brand and why you like them? As far as vintage clothing stores go, I’m not quite sure I have a specific favorite because I like to go bargain hunting, if you will, so I’d like to go it to as many as I possibly can, and if they have a good price on something I will totally purchase it, but my go to vintage clothing store when it’s last minute or I know that it’s going to be something hard to find because they have great finds there, is Play Clothes Vintage Clothing store in Burbank. I’ve always gotten lucky finding things that fit me and the prices are not too bad. For reproduction, my favorites at the moment have to be Nicoletta at the Oblong Box Shop, and Vixen by Micheline. Best tips for having long hair and wanting to style your hair in vintage styles? My number one tip for at least growing out your hair is to stay away from heat tools, so I don’t ever. It’s rare if I do, but I don’t really ever use a curling iron or any hot tools on my hair to get my style, with exception right now because of my bangs. It is very damaging to your hair, and all the products that you put in your hair is pretty damaging too, so if you can eliminate one of those then that’s a good idea to help grow your hair a little faster. Another tip would it try to avoid dying your hair. I do still dye my hair, I just try to not do it as often, and I am not using anything like bleach or black box dye because that has really bad chemicals in it for your hair as well. I like to braid my hair at night because my mom and my grandmother told me that helps as well. I’m not quite sure if it really does. My hair naturally grows pretty quickly, but as a safety measure I do it anyways. As for styling your long hair in a vintage style, I say do not be afraid. You can absolutely do it, I feel like I enjoy having longer hair specifically for vintage styling because I’m able to achieve so much more. For example, in the video that you’re watching, I am creating a 1940s-ish type Bob, or the U hair shoe shaped hairstyle, with my long hair, so I can either have--eventually when my hair gets a little bit longer--Veronica Lake waves, or I can have that 30s cute little Bob ,or I can do one of those Gibson girls updos for when I’m doing in like the early 1900s hairstyle, so I actually think that if you are the one that likes different decades, having long hair is more in it of an advantage for you. However, if you are specific to the decade you that you love and that’s what you dressed in all the time, then sure, go ahead and get the hairstyle or the haircut specific to that decade, but because I have a range I think having long hair is extremely helpful. ♦

A Brief History of Fetish as Fashion By D’arcy Holmberg

hen a community outsider hears the term “vintage fashion”, the first images typically brought to mind are likely the gamine demurity of Audrey Hepburn’s full Givenchy skirts, the glamorous bias-cut rayon vamp looks of Lauren Bacall, and perhaps, on the sexier side, the low necklines and curve-hugging wiggle dresses of blonde bombshells Marilyn Monroe and Jayne Mansfield. Rarely, when one thinks of “true vintage” style, are skiantight leather, rubber, or metal included in the immediate mental imagery. Fetishwear has a far longer history than what is known to even the most seasoned vintage aficionados, and has long had a place in our bedrooms as well as our wardrobes.

“Fetish Fashion” is defined as any style or garment created to be provocative in a fetishistic manner. This can apply to the purposeful enhancement of a specific part of the body (a corset’s ability to exaggerate the waist, for example), a fixation on a particular item (like a skyscraping stiletto-heeled shoe), or garments created in materials that provide the wearer, or the onlooker, with a uniquely sensual sensory experience, such as the aforementioned leather and rubber. Previously classified as a clinical sexual perversion, the opinions surrounding the psychology of fetishism have vastly progressed over the last 100 years, as has the visibility of fetishwear and it’s position in the fashion world.

Some of the earliest examples of historical fetish-wear date back to the Victorian period. As we have come to learn in modern-day, from nude images hidden in Stanhope jewelry to vibrating treatments for “female hysteria,” the Victorians were not nearly as pure and innocent as they may have wanted history to believe. Many popular Victorian fashion trends were, unabashedly, fetishistic: hobble skirts to shorten the stride acted as a form of light bondage, the period’s fervor for “S-bend” body shape, created by corsets and made to highlight a drastically reduced waist and a forward-thrust bust, but perhaps the most iconic fetish garments of the era were, of course, the boots. At the turn of the century, laced leather boots were the shoe style of choice, but historians have documented examples of thighlength versions with impossibly high heels that were clearly crafted to appeal to the boot and shoe worshipers of the era. The Victorian boot became an early staple of fetish fashion, and footwear harkening back to the style remained in favor through the decades, and are among the most reproduced styles of fetish Nativa Richard from 1913 to 1943, and Léon Vidal’s footwear today. Diana Slip operating for a shorter period through The widespread cultural liberation of the the 1920s. Primarily offered through discrete 1920s lead to significant strides in the brochures, both companies provided “La Lingerie world of artful, and often risqué, fashion. Moderne,” exquisitely crafted underpinnings But the shock of flapper’s rising hemlines, that were never meant to be hidden, designed to rolled stockings and bobbed hair are tame appeal to a variety of fetishes. Some of the more statements when compared with the famously documented Diana Slip designs include titillating creations of the era’s most sheer French lace panties with a ladder of ribbons decadent designers, Diana Slip and climbing across each leg, black mesh bloomers Yva Richard. Direct competitors in cinched with open lacing to expose a sliver of the Parisian lingerie market, with derriere, a pair of leopard fur briefs (complete with the Yva Richard company operated an attached tail!), as well as some of the earliest by husband and wife team L. and examples of fetish lingerie featuring studded 87

leather and patent leather. Yva Richard’s catalogs were primarily modeled by Nativa herself and included cupless bras and catsuits, leather corsets, and peekaboo leotards. The company also offered early metal and leather bondage restraints, gags, and accessories, all captured in evocative photographs that were likely as appealing to the consumer as the items themselves! These early companies paved the way for the growth of the underground Fetish mail-order industry through the next two decades. In 1926, a young man of 24 named John Coutts gained membership to a small group known as the High Heel Club in Brisbane, Australia. The group’s love of extreme footwear was shared through images and erotica, and the young Mr. Coutts was soon inspired to begin bringing his own wildest garment fantasies to life. He is the man we now know as John Willie, and his fantasies birthed what is inarguably the most iconic publication name in the world of fetish fashion: Bizarre Magazine.

After relocating to Canada, and later to New York, Willie was introduced to the underground fetish community in the US by kink pioneers Irving Klaw and Charles Guyette. By 1946, Willie had begun writing, publishing and distributing Bizarre via mail order. Willie’s illustrations remain among the most noteworthy and influential imagery in the history of garment fetishism. With pictorials depicting metal bondage accessories, corsets, leather harnesses, opera gloves, restrictive skirts, uniforms, posture collars, stockings, and more. Willie’s Bizarre ran the gamut of reader interest as he dreamed up delightful wearables for nearly every type of kink. Remaining faithful to his roots in the high heel club, during Bizarre’s publication from late 1945 to 1959 (though Willie sold the magazine in 1956), Willie operated a custom shoe company called Achilles Heels (get it?) that specialized in towering platforms and leather ballet boots. Aside from his own work, the photographs of Willie’s mentors Klaw and Guyette were frequently featured in issues of Bizarre, specifically, those depicting the original “Queen of Bondage” and the archetype of vintage fetish style, Bettie Page.

As the heyday of Bizarre came to a close in the mid1950s, it birthed a spiritual successor in the form of Leonard Burtman’s Exotique magazine. Exotique 89

depicted no nudity and was heavily focused on garment-based fetishism. The 36-issue run illustrates some of the earliest images of latex and heavy rubber garments.

While the underground fetish fashion world quietly boomed through the 1950s and 60s, it remained just that... underground and quiet. Fetishwear finally burst from behind closed doors in the mid-1970s with the rise of a new sound and a new style: Punk Rock. Primarily utilized to deepen the shock value of Punk’s already shocking aesthetic, musicians and followers alike began integrating garments formerly reserved for BDSM dungeons into their everyday street style. A young Siouxie Sioux famously strutted onstage in a cupless cage bra and a single black latex stocking. Adam Ant paired skintight leather pants with a t-shirt begging the reader to “Beat

Me, Bite Me, Whip Me, F*ck Me like the Dirty Pig that I am!”. Dog Collars, studded leather belts and cuffs, and dog leashes worn as necklaces abounded as Malcolm Maclaren and Vivienne Westwood’s King’s Road SEX boutique displayed mannequins in torn tees printed with Tom of Finland’s Queer Cowboys and gimp masked faces, paired with punk’s trousers of choice, the aptly named “bondage pant”, festooned with a multitude of straight jacket-inspired straps connecting the legs. By the early 80s, Fetish fashion had been embraced by a of a variety of subcultures, and continued to thrive in the New Wave era as artists including Depeche Mode (Martin Gore favored chain and leather chest harnesses), Missing Persons (lead singer Dale Bozzio wore a variety of head to toe PVC and plastic looks) and the Plasmatics (frontwoman Wendy O Williams’ look and persona was deeply inspired by BDSM culture, and she was rarely seen on stage without her signature combination of catsuits, leather harnesses, steel accessories, bondage belts, and towering leather boots). In 2019, it is undeniable that fetish and BDSM sexuality is experiencing an all-time high for public visibility. Fetish fashion has emerged from the dim lights and drawn curtains of Victorian boudoirs into the literal spotlight of modern high fashion. The fashion houses of Dior, Louis Vuitton, Jeremy Scott, and Moschino have all presented collections in recent years paying homage to fetish fashions of the present and the past. Beyoncé chose an elegant latex gown for the 2016 Met Gala. Figure skater Adam Rippon stunned at the 2018 Oscars in a Harness Tuxedo by Jeremy Scott. Modern fetish Goddess Dita Von

Teese is an international superstar. Kink is cooler than ever. But when it comes to integrating these looks into a vintage wardrobe, it can be a challenge to know where to start. Fortunately, several modern designers are offering vintage-inspired fetishwear. For lingerie that simply MUST be seen, the UK-based Playful Promises is a fantastic (and wildly affordable) place to start. The brand’s Bettie Page collection offers period-accurate underpinnings reminiscent of styles worn by the label’s namesake, including bullet bras, tap pants, mesh briefs and the absolute musthave for any fetish lingerie collection, the overwire bra. If earlier styles are more your speed, the offerings from Dark Ladies Wear, a small handmade lingerie house offering girdles, waist cinchers and suspender belts in the tradition of Slip and Richard, will likely get your heart racing. For a staggeringly cinched waist, browse the superior corset offerings of Mystic City Corsets, Dark Garden and Los Angeles’ best-kept secret, the fantastic Hoss International. Latex is experiencing an incredible renaissance at the moment after a number of celebrities have embraced the tight and shiny look, and designers like Atsuko Kudo, Jane Doe Latex, William Wilde and Syren produce an array of vintage-patterned designs suited to the new and seasoned rubber lover. For more basic latex staples (stockings, versatile bodysuits, gloves and the like), the UK-based Honour and Libidex as well as the long revered German label Fantastic Rubber are reliable sources for small outfit accents like seamed stockings, waist-cinching belts and opera length gloves in the material.

Leather is, of course, the crown jewel and cornerstone of a Kink-inspired closet. The harnesses, belts, cuffs, and accessories of designers Zana Bayne, Yeha Leung of CreepyYeha and Relena’s Vegan Bondage are ideal for pairing with your existing vintage wardrobe for a sultry wink to Willie’s illustrated Dominas. What’s more, the designers mentioned above offer both genuine and vegan leather options, with Relena’s collection being 100% vegan. If you love the leather look but prefer the cruelty-free option, Vixen by Micheline Pitt boasts an entire collection of high-quality vegan leather garments (including a circle skirt and flutter sleeve blouse that are utterly iconic individually and when paired). Keep your eye on the Vixen website for their upcoming offerings in black patent leather this fall. Dressing for pleasure has existed, in some form, in every popular era of vintage fashion. From the endless eyelets of Victorian boots, to the peek-a-boo French lace of the 1920s, to the tightly cinched corsets and leather gloves of Mr. Willie and his contemporaries and beyond, there are a multitude of options for adding subtle (and not so subtle) touches of the decadent dark side to your personal vintage style. Add a pair of glossy patent opera gloves to a favorite 1940s rayon gown, let an overwire bra peek out from the neckline of your everyday 50s shirtwaist dress, trade your nylon back seam stockings for a pair in latex... the possibilities are endless. So, what’s your pleasure? ♦ Author: D’arcy Holmberg is a proud Queer Femme, Vintage Clothing Dealer, and Fetish Performer/Educator based in NYC. 91

Style, Allure & the Craft

An Interview with V.V. Venom â&#x20AC;&#x201C; A Queer Burlesque, Performance Artist & Witch based in Los Angeles by Christine Cochrum

o many of us have multiple facets of who we are, what drives us, and what makes usâ&#x20AC;Śuniquely us. We are all beautiful gems with many faces and aspects, some we show outwardly to others and some we hold close and only share with those who can truly honor and appreciate that side of us. Itâ&#x20AC;&#x2122;s a rare pleasure when you meet someone who acknowledges your most secret side and allows it to creep forward and shine its light into the world. I had that rare pleasure with V.V. Venom. I am a Witch, and when I chance upon fellow Witches who also happen to share another facet of my being, such as a love of vintage fashion and beauty, it deeply touches my soul. Itâ&#x20AC;&#x2122;s not a side of myself that I often share with others, but V.V. Venom is one of those truly unique individuals that makes you instantly feel comfortable and welcomed. She also happens to be a pug mom like myself! We truly are a special breed. We at The Vintage Woman are so honored that she has agreed to share some of her own facets with all of us. It is my great pleasure to introduce you to V.V. Venom. How did you discover your love for vintage fashion? How has vintage style carried into other aspects of your life? I grew up in my grandmothers home in Connecticut playing with her boudoir garments,

jewellery, make up and watching old Hollywood films in her bed. I studied and performed theater at a very young age, and when I put on a 19th-century corset at 12 years old, I fell into a fascination with vintage and antique fashions. I was drawn to the historical significance attached to them, the glamour, the sadness, the grotesque, the mystery, all of it. Luckily having grown up in New England there was plenty of vintage clothing, architecture and

folklore to be discovered. I am an introvert to the core, and I found that I loved to be seen out of my shell, under my conditions and those conditions often involved a stage. Creating an aesthetic that felt authentic was vital to me at a very young age. It was a way for me to express myself and all of the things that I did not feel I could say with words. I never really wanted to look like any one person or group, at least no-one that was still alive. I soon began dance lessons, recitals, etc. Dressing in costume and the ritual of getting ready and painted for performance was a formative part of how I identified very early on. Fast forward, later in life, I danced in a Cabaret style Belly Dance troupe in Oakland, California. We performed all over the Bay Area often in Queer clubs, in drag shows, burlesque shows and on stage at the annual Pride parade. These experiences were indeed what opened the doors to Queer community and inclusive conversations that changed my life. After completing a bachelors program at CIIS that was deeply rooted in social justice, cultural constructs, and psychotherapy, I eventually moved to Los Angeles. There I began working at my favorite Hollywood vintage shop, Paper Moon Vintage, where I could continue to surround myself with wearable histories and absorb their sentiment. To this day, 95

I enjoy taking risks, combining my personal style with vintage fashion standards, thus breaking the rules, tastefully. Can how

you you

speak a little on identify as Queer?

I am right on the cusp of a millennial, so I did not grow up with the Internet, a cell phone, or social media. I was not exposed to supportive language or an emotionally stable home where I could confidently identify as “queer” or really anything. Being bullied as a youth, I learned (out of necessity), to avoid what felt like danger in social groups, always with my guard up. I closeted feelings of shame for “gay” tendencies towards my female-identifying friends. Conversations about homosexuality in our household were 96

limited to the AIDS epidemic and the two people our family lost to it in the early 90s. As a confused child, I was urged not to talk about it, and when asked, I was to tell others that they had cancer, not AIDS. I certainly had the privilege of presenting as a straight, light-skinned, thin, able-bodied, cis female. This both offered me opportunities and attracted unwelcome, unsolicited attention, to say the least. Looking back at that child, I often felt like a hyper-sexualized, pretty boy, secretly striving to embody a glamorous woman I would someday become. For a while, I was dictating the projections that seemingly kept me safe from further criticism but held me further from my truth. With all of that said, it took major life lessons to be liberated from that

narrative, step into my power, and celebrate my unique self with a lighter heart. That self very much felt that the word Queer got closer than anything else had to name how I felt inside and out. However, I have never felt that that Queerness had a conclusive definition nor that it was limited to how one may sexually identify. For me, using the term now is a sense of gauging safety and community. What does it mean Burlesque Witch?

About two years ago I got a message from the Los Angeles Icon, punk recording artist, author, burlesque and belly dance royalty: Pleasant Gehman AKA: Princess Farhana. I had met her through the belly dance community and felt a

kinship immediately. She reached out to tell me that she was producing a new burlesque show called “Belle, Book & Candle” in the Historical 1920s Spanish Gothic Theatre, El Cid. A show that is FOR witches, BY witches. I had never performed burlesque per se, but I had been a sex worker dancing in strip clubs and of course, had been a trained belly dancer on many a burlesque stage. I was up for the challenge, and with Pleasant’s guidance and support, I renamed myself V.V. Venom and embarked on a whole new adventure reclaiming my inner witch, shedding the pieces that no longer served me. Upon reflection, expanding my artistic performance abilities, letting myself identify but not be defined; has helped me to do some tremendous healing and waken into my witch witchcraft. I feel I owe a great deal of this healing 97

to my beautiful friends and mentors here in LA. Debuting my Burlesque entity at Belle Book and Candle was an incredibly inclusive experience. The show feels like we have taken an ancient and stigmatized art form/ form of survival (Burlesque) and reclaimed it, named it for ourselves and conjured a space that brings spiritual intelligence and strength to the forefront while maintaining a fun, inclusive environment. Fellow artists, queers, witches, intellects, psychics, sex workers, etc. can feel comfortable and inspired. Outside community, curiosity, and involvement is encouraged and tickles on a surface level of mere sexual 98

entertainment but once one starts peeling away the layers and paying attention to the many messages involved; the opportunity for healing, education through fantasy, fetish, magic, ritual, laughter, psychic release, visibility, and empowerment starts to pop up everywhere. To this day, I hand make almost everything I wear on stage, creating acts rooted in occult symbolism, serpent rebirth dance ritual, gender fucking and a lifetime love of vintage / ancient royal aesthetics. I am constantly relearning that I know nothing. â&#x2122;Ś V.V. Venom Photography by Adri Law

WA R D R O B E C O V E T I N G WITH SARAH FROM

Cheshire Vintage BY LAURA BUTCHER

S a r a f r o m C h e s h i r e V i n ta g e h a s given us the distinct pleasure of a s n e a k p e e k at h e r p e r s o n a l v i n ta g e c o l l e c t i o n . C h e s h i r e V i n ta g e i s k n o w n f o r s o u r c i n g a n d s e l l i n g n o v e lt y prints, among other things, and this r a r e a s s e m b l a g e d o e s n o t d i s a p p o i n t. Get ready to swoon, folks, because these pieces are a collectorâ&#x20AC;&#x2122;s dream. C H E S H I R E V I N TA G E

Cheshire Vintage 103

I FEEL LIKE A WOMXN: Mx. Ashley on Pronouns and Gender Fluidity in the Vintage Scene By Gabriela Schunn

As the vintage world has broadened, it has become increasingly more important to educate enthusiasts and consumers on social issues that directly affect nostalgia culture. One such issue is gender and how gender is often used to market vintage. We spoke to Mx. Ashley Beaufille Cook of Casablanca Vintage in Cincinnati, Ohio, US, to ask them about their experiences as a nonbinary individual coming into their own through vintage and by extension, the seldom-explored but numerous possibilities of gender-fluid marketing in vintage...

105

How long has vintage been a part of your life? I got my first vintage piece – a late 60s/early 70s gauze poncho – when I was 10 years old, while thrifting with my grandma. My grandma was into theatre and opera and therefore I got into it too. I was always around vintage and costumes for productions and I got lots of free stuff from my grandma’s theatre friends. I was wearing vintage throughout high school, mixing special items in with skater brands and boy clothes. I even wore vintage to all of my formal dances because I felt bad asking my mom for an expensive dress, when I could just wear a weird thing I found in my grandma’s basement. In college I was wearing vintage for all of my auditions. Around this time I was redesigning damaged vintage. I was in school for theatre and had to take technical costuming classes because I wasn’t getting cast in shows. The teacher noticed I had a knack for identifying decades, valuing uniqueness in design and interesting construction. She told me I needed to be working in vintage or costuming in some way. I thought she had lost her mind because I was in school to be an actor! Then I decided to get a minor in entrepreneurial studies

instead of the typical business minor that most theatre BA students were getting. I think this set me up for when I graduated college; I was working at the mall and ran into an old pal of my ex-boyfriend. He was taking over a vintage store and I told him he needed me on board. A dealer from New York was shopping and overheard our conversation, told him he needed to hire me and so he did, because he trusted her opinion and shopping taste. To you, what does it mean to be non-binary or genderqueer, and how do pronouns play a part in asserting your gender identity? Being non-binary or genderqueer typically refers to someone who doesn’t identify with their assigned gender at birth; those who do identify with their assigned birth gender are cis-gender. For example, I’m assigned female at birth (AFAB) but do not identify with it 100%. There are parts of me that do, but parts of me that definitely don’t. Someone who is binary transgender likely doesn’t identify with their assigned birth gender at all. I use they/them pronouns because I don’t feel like a woman and don’t want to be gendered as such. But my gender identity is flux and goes between identifying as demigirl/demigender and pangender/omnigender. There are times I also feel agender. In other words, sometimes I feel like all genders but other times I feel like none. It’s important to remember that gender can be fluid for some but for others quite static. How does the term ‘womxn’ differ from the word ‘women’ and who does that term include? The word womxn usually refers to everyone who isn’t a cis-hetero male. Second wave feminism used “womyn” as a way to reclaim the word and apply

106

107

108

it to feminism, but this term can be seen as TERF-y (trans exclusionary radical feminist) so a lot of queers I know use the word “womxn” instead. For some, it’s a nice way to not have “men/man” in the word and the connotations of the word “woman/ women” referring to womxn being a sub-set of men and the patriarchy. To clarify, I identify as womxn but not a woman, as a woman is a social construct of a patriarchal society. At what point in your life did you adopt they/ them pronouns? I’ve known I’ve been non-binary for as long as I can remember. I used to bug my mom all the time about how there has to be another option other than being a boy or a girl. She went mad with all of my questions and skepticism about gender and sexuality. Like everything, she thought it was a phase. I came out as being queer in high school, but there were really no normalized pronouns for people who are genderqueer. This was in the early 2000s. I came out to my college girlfriend as being genderqueer when I was about 20 years old. I still hadn’t heard of the pronouns they/them until I was about 24 or 25. Around that point I was telling people close to me how I identified, but the pronouns were optional as long as my gender identity was respected. I noticed about two or three years ago I was feeling more and more of a stinging sensation in my heart when I heard words like “girly” or “lady.” And hearing “she/her” is like a stab in the heart now. It’s been almost a decade since adopting the pronouns myself, but enforcing them with people in my life and the general public has been a more recent thing. I feel like I’m finally in a political and social climate to have my gender ID respected.

helped me come out as a non-binary individual and to set an example for the public and our customer base. Little by little I’ve implemented safe space language and less gendered identifiers into our business. All of our social media and business cards say “for all ages and genders.” While vintage clothing traditionally is thought of as something for a gender binary, and with scenes that value heteronormativity such as the rockabilly scene, it’s hard to break through those stereotypes and constructs. We now have a sign that shows where the “women’s/femme” and “men’s/masculine” sections are and explains how they’re arranged by sizing in inches. Our staff is all LGBTQ and is informed about what language is inclusive and what’s offensive, and this is very important to us. I’ve received messages from people asking how they can do this at vintage stores they work at, also from customers thanking us for not judging them for what they’re buying and for being so helpful and open-minded.

Casablanca Vintage, the shop that you run with your business partner Tim, is known for catering to folks of the entire gender spectrum. What practices do you enact in your store to welcome customers? Tim was the person who inspired and encouraged me to start wearing young men’s and boy’s vintage. I envied his collection for so long, even years before I officially came to know him. It’s definitely 109

Have you experienced prejudice within the vintage community because of your gender identity? Not within the community, no. I have from meanies on Instagram though! As both a non-binary person and a successful vintage seller, how do you see vintage playing a part in moving towards more gender-neutral fashion in the future? Fashion is a huge part of gender expression, no matter what decade. But we live in the modern world where we have access to clothing from all time periods and can mix and match them, repurpose them and reclaim them. For example, bullet bras. I feel amazing in a fetish-y super pointy satin bullet bra, but would never feel comfortable in a modern VS push-up bra. The extreme ideal of a womxn having pointy breasts is almost hilarious and impossible in reality. By reclaiming it, I can see its absurdity, appreciate its history and do what I want with it. I can wear a bullet bra outside of a menâ&#x20AC;&#x2122;s shirt with loafers or boots and feel like myself. I also think that because clothing is one of the most obvious or primary indicators of someoneâ&#x20AC;&#x2122;s gender, people 110

111

expect someone who is transgender to dress as the complete opposite as their assigned birth gender. And some expect someone who is non-binary to dress more leaning to their opposite assigned birth gender. This isnâ&#x20AC;&#x2122;t necessarily true. Clothes are fun and expressive; people should be able to wear whatever they want and also have their gender identity respected with no push-backs. â&#x2122;Ś

SOCIAL MEDIA LINKS ASHLEY

112

CASABLANCA VINTAGE

Smooth Lines, Tight Laces:

A Brief History Into Corsetery & How to Wear Them by Lydia Ross

y name is Lydia and I live in North Yorkshire, UK. I have been interested in corsets since I started wearing vintage approximately 13+ years ago. That is where my intrigue started, but at the time I couldn’t afford to buy a well fitting steel boned corset, so I had to make do with what I could find, which were 1950s corsets or girdles that had soft boning (boning gives the support and structure to a corset) and gave a subtle silhouette. Over time I had dabbled with different shapewear both modern and vintage and never really found what I was looking for until I started to use the internet more. I dis covered some really great modern companies that produce off the rack steel boned corsets. I have been wearing steel boned corsets for about 4 years now 80% of the time and never looked back. They are surprisingly comfortable and I love that you can change your shape by either wearing it loose or tight lacing it, depending on the occasion. I do own a variety of different corsets and collect vintage undergarments ranging from ‘stays’ to

the later lace up girdles. I feel that wearing the right foundations of the era is vital if you want to look accurate. Although I wear 1890s to 1940s, I can make my corset work for all eras apart from the 1920s... it’s a nice change now and again!

HISTORY Corsets have been around for hundreds of years. The word ‘corset’ originates from France, but the first records of a waist binding garment were actually found in Greece; pictures of women painted on vases wearing what looks like straps that compress the waist. It is believed this garment may have been worn to promote fertility. However, it wasn’t until the sixteenth century that it was commonly worn as an undergarment. Before that in the fourteenth century, it is suspected that tightly pulled bandages were worn under clothes to give the waist a bit more definition. Early corsets in the sixteenth century were known as ‘stays’ because they gave 113

a structured form. They generally had more fabric up the back with straps and stopped and the waist to a tapered point. Tabs would flow around the bottom of the stays, and chests would be given a generous boost with the low-cut neckline, as having a lot of bosom on show was extremely fashionable. Stays, however, had very little boning and could not be laced tight, as the materials used and techniques were limited. Moving forward to the nineteenth century when corsets became more like the ones we know today, although still called ‘stays,’ the shape changed so they were longer on the torso and were made from stronger materials. More boning was introduced so the hourglass shape became more defined. Boning also became more structured with metal or baleen (whale bone), but had some movement because when at body temperature the baleen became slightly flexible, much like your nails after a hot bath. The nineteenth century saw an era of change, not just in fashion but in lifestyle and technology, so naturally fashion also had to keep up. Corset designs became easier for the wearer, and the introduction of front opening meant less dependence on maids or patient partners. The bust shape moved more towards support, so unlike the earlier ‘stays’ the corset would not push everything up, but rather hold it in place like a bra. During the mid-Victorian era, the tight lace (4 + inches smaller than one’s natural silhouette) trend became very popular with the very exaggerated tiny waist being the epitome of beauty in Western fashion. Crinolines were huge and sleeves were also huge, all to make the waist appear smaller. Clothing also started to become structured with its own boning. Don’t be fooled though, photo editing was very apparent even then. The process was not like today’s, but pictures could be manipulated to make women’s waists eye-wateringly small, so sometimes ideas about what Victorian corsets looked like have been a little further exaggerated. 114

Throughout the end of the nineteenth century, there was negativity towards corsets starting to circulate. In the early days of the women’s rights movement, doctors were starting to speak out and advise women against the corset because it may effect fertility and puts your internal organs out of place... so then came the ‘health corset.’ This corset gave the wearer a type of S-shape. It pulled the shoulders back, derrière out, and the waist in. The ribs were less constricted and it curved under the rib. The look was often described as ‘pigeon chest’ because the chest was pushed out and up rather like a pigeon. The beginning of the twentieth century saw a change in attitude toward clothing. Women were more active and had more freedom, which was the turning point for corsets. The Victorian corsets were out the window for modern women; the length became longer so it would cover the entire hips and bottom,

sometimes even half way down to the knee, and the materials used in the corsetery changed during World War I because steel was needed for making weapons and ammunitions. Women were expected to do their part and took to factories. Because of this, they needed to be able to move freely, so wool and cording were used for comfort and could be worn comfortably. Whaling had also been banned in many areas due to the dwindling number of whales left, so all of these factors moulded the way for the modern woman. The invention of the brasserie during the Edwardianeracreatedthetwopieceundergarments, as corsets took to an under-bust style. This allowed a little more movement and gave better support, unlike the Victorian corsets which were very rigid. Towards the late ‘teens, boned corsets were replaced with early elastic, which allowed full range of movement but with less structure.

The twenties saw the introduction of the ‘girdle’ or ‘step in.’ There were other names used such as ‘corselette,’ and this garment was primarily like the Edwardian corset, but slightly lower set on the mid rib section. They were still longline with garters attached, but the emphasis was not on minimising the waist, rather to slim the hips and create a slim lined figure. The beauty ideal had changed dramatically, and women were embracing their freedom and ability to enjoy dancing and being more physically active. Boning was non-existent at this time, so in my view this was the end of the corset. Throughout the 20s the elasticated girdles took different forms with some lacing at the front, some without lacing, all in one pieces and separates. This continued well into the 1930s and 40s. Body ideals changed, so naturally underwear changed with it. Girdles generally would cover from the waist band down

to the hip, but they did vary with all in one pieces with built in bra. Dior’s new look of the late 40s sparked a revival of the corset. The silhouette was similar to those of the Victorian era, but this time with bigger shoulders and a full skirt, thus making the waist look even smaller. Steel boning was sometimes used, but because rationing continued until 1952 plastic may have been used for the boning. The desired shape was extreme once again, so padding around the hips and shoulders gave the illusion of an minuscule waist. The corset style had changed, and this is where the ‘waspie’ came in. This corset was basically a compact version, starting just above the bottom rib and ending about the hip. This would only constrict the waist and would be more comfortable than a full length corset, achieving the ‘wasp waist’ look that was en vogue. The wasp waist was literally like a wasp,

with the full round top and bottom connected by a tiny waist. This was the desired look into the 1950s, and although this look was not commonly worn by everyday people, the elastic girdle still was strong through the era. The 1950s also had another side to the corset: the fetish scene. Although fetish has been around for a long time, in the late 40s and 50s it became a little more known. Artists such as Gene Bilbrew and Eric Stanton who illustrated adult fetish cartoons, and corsets would be featured quite often to the extreme. Corsets would often be seen in burlesque during the 1950s as well, although the corsets were definitely more for seduction then fashion. The ‘merry widow’ made a statement, usually made of nylon and soft boning, fastening with hook and eye or sometimes a zip, they were strapless with the iconic bullet cups and would sit just above the hip with attached suspenders. These were worn under clothes by some women, but from what I gather were not comfortable at all. After the 1950s, corsets went out of fashion in the mainstream when the ‘twiggy look’ came in, very similar to the 20s when the boyish look was all the rage. Modern day corsets come in all shapes and sizes and are used for many different people. They are a staple in a lot of subcultures such as steam punk, cosplay, and also fetish still. I think corsets will always be around, but not in the mainstream, which is good because I feel we all need the freedom and choice to wear whatever we want. There is still a huge corset wearing community with people all over the world wearing steel boned corsets and also historically accurate ‘stays,’ some for re-enacting and some just for the joy of wearing them. I will always have a keen interest in corsets and am always looking to learn more about the history and expand my collection. Hopefully you may have a brief understanding about the evolution of the corset from what I have written about and maybe sparked an interest for some.

115

Tips for Cors

PICK A TRUSTED

When you type ‘steel bo it’s absolutely flooded w be a little overwhelming clue. Explore some of t personally like to ask so the brand what they thi your time to find a bra budget and also mainta My first ‘corset’ was £5 bones but no shape arou highly uncomfortable.

PICK A STYLE Firstly, you have to keep in mind what you will wear it for and how often. These are the questions you may ask yourself when first looking for a corset. Overbust corsets are generally worn for fashion/burlesque or photo shoots, whereas the underbust that is to be worn with a bra will look better under clothes and is good for disguising. These are usually worn by people who wear a corset on a regular basis rather than just the odd occasion. Corsets do come in a lot of different variations, such as spiral steel bone, flat bone, and a numerous amount of panels and waist bands, but I don’t think it’s something to worry about straight away.

MEASUREMENTS

Measuring yourself is vi fit. The natural waist an where to measure, also of the bust if you wa right size corset should inches, or sometimes 3 on the desired effect, le size. This will allow you example my natural wa a 22’ corset, so if I want 116

set Beginners

D CORSETIERE

oned corset’ into Google with options, so it can g when you don’t have a the brands online, but I omeone who is wearing ink. Don’t be hasty, take and that fits with your ains a quality product. 50 off eBay. It had steel und my hips and it was

ital to find the correct nd around the hip are over the widest part ant an overbust. The d be approximately 2 3 or more depending ess then your natural u to clinch down. For aist is a 26’ but I wear t to lace tightly I can.

STEALTHING Stealthing means wearing a corset discreetly under clothes. I do this quite often, but it can be more difficult for some people depending on what you wear. I usually pick thicker fabrics and avoid anything too clingy like a silk or satin, as the boning can sometimes be seen. Nude shapewear worn over the corset helps soften things and give a more natural illusion. Like I mentioned before, tucking the laces under the corset helps flatten the back.

117

SEASONING Seasoning or breaking in your corset should be done gradually, ideally starting with a few hours a day if you have never worn a steel boned corset before. Also, wearing it fairly loose over time you should increase the tightness and time wearing it to accustom your body to it. Doing too much too soon can be quite damaging to your body and I would not advise it. If you experience any pain, take it off! This should not affect your breathing either. There are a lot of misconceptions about corsets making people pass out. If it’s uncomfortable it’s not the right fit for you.

GETTING IN & OUT Always loosen the laces before putting your corset on. Once it’s on your body, close the front hooks then begin to carefully pull the laces. I find having it laced to the waist is the most comfortable and easy way to wear. Some lace from the top of bottom to avoid laces bulge. Getting out of the corset should always start with laces first. Gradually pull the laces out at the back until there is no pressure on the corset, then undo from the front. Doing the hooks first is awkward and can damage the corset. ♦

Photography | Belle Prive Illustrations | Leanna Lasso Corset “Morticia Ex”; Underwear; What Katie Did Wig; Necias Hair Styling 1930s Hat; Elegant Era Vintage 1930s Dress; Cin Cin Vintage

118

everybody gotta coat some body? Need to be kept warm through out the winter weather? Well do not worry, here at The Vintage Woman Magazine we have got you covered, quite literally.

1960s Style Swing Coat - Size up to 4x; Unique Vintage | $170 USD

1950s Neo Noire Swing Coat - Size up to 5x; Micheline Pitt for Unique Vintage | $245 USD

1930s Style Phryne Coat in Black/Red Size up to XL; Vecona Vintage | â&#x201A;¬219 EUR

119

The No Sh*t Sherlock Plaid Blue - Size up to EU 38; Emmy Designs | €395 EUR

1930s Style Phryne Coat in Blue - Size up to XL; Vecona Vintage | €219 EUR

The Va Va Voom Coat in Chartruese - Size up to EU 48; Emmy Designs | €279 EUR

1930s Style Bonita Brown Coat - Size up to XL; Vecona Vintage | €219 EUR

Faux Fur; Vecona Vintage | €189 EUR

InInTouch Touch by Lindsay Fram

The story goes that Cleopatra invented the first vibrator in 54 BC by filling an empty gourd with angry bees. She elevated the activity to an artform but most certainly did not invent it. Masturbation has existed as long as people have had genitals and women have indulged the entire time, whether we talk about it openly or not. When we are young, we stumble into masturbation. It is self-soothing, not sexual. By the age of 15, about half of all people with clitorises have had an orgasm, some of those rather accidentally. But as girls get older, as sexuality supercedes self-soothing, suddenly masturbation is not for us. It’s shameful. It’s an apology. It’s what-would-we-even-do-downthere? The only way to understand how we got here is to start at the very beginning. The word vagina comes from the Latin meaning ‘sheath for a sword’. I remember the moment I learned about the etymology of vagina and how every hateful thought, every terrible joke, every whispered question about women’s bodies I’d ever heard as a sex educator fell into place. We are living the legacy of women being regarded not as autonomous sexual beings, but as repositories for the sexual desire of men.

It is still common to use ‘vagina’ as the name for the external genitalia for those who are told they were girls on the day they were born, but ‘vulva’ is more accurate. Vulva includes the opening to the vagina, the labia, the opening to the urethra and – most important to conversations about masturbation, orgasm and pleasure – the clitoris. Penis tells the whole story in one word: procreation, urination and recreation. Vagina narrows the conversation about our bodies to procreation only; the body as a vessel for creating and nurturing but not for pleasure. Not even for urinating, incidentally, as urine comes out of

an entirely different opening. If ‘sheath for a sword’ is where the story begins, it is no surprise that our inheritance is an orgasm gap and a wariness to explore our own bodies. There are so many benefits to masturbation beyond the obvious; the obvious being that orgasms feel fantastic. 121

Orgasms also reduce stress, alleviate headaches and menstrual cramps, increase oxygen to the brain and promote the release of feel good chemicals, and they can help you fall asleep faster. Mastubation also helps you learn how your body responds to sexual stimulation. Touching your own body in a way that feels good to you without the pressure of being with a partner can help you figure out how you like to be touched and how you don’t. Masturbating to orgasm can inspire sexual confidence and boost your libido. Orgasms beget orgasms beget confidence begets arousal begets all the more orgasms. If solo sex has not been a regular part of your life up until now and you are wondering where to begin, one need not overthink it. Hands are the most obvious, most convenient and least expensive option. Seventy percent of women need something more than penetration to experience orgasm. For most people that means clitoral stimulation, so the clitoris is a great place to start. Use your fingertips, thumbs, palms. Touch, rub, tease, tap, brush, caress your clitoris. Explore the left side, the right side, up and down, side to side, in circles clockwise and counter-clockwise. Pay attention to what feels good. If it stops feeling good, move on. If it feels really good, keep going. There’s no rush to figure it out. Enjoy the journey. Not everyone will orgasm the first time and that’s okay. And not everyone can use or will be comfortable with using their hands and that’s okay too. Vibrators have a longand provocative history for a reason. 122

Not much about vibrator technology is documented between Cleopatra’s bees and the late 1800s, but enter the Manipulator in 1869. This aptly named appliance was steam-powered and had an engine so large that it could be hidden in another room with only the appendage protruding through a wall. By 1890 vibrators had gotten smaller and no longer required a friend to shovel coal. Dr. Macaura's Pulsocon Hand Crank Vibrator is one such example.

This model debuted in 1890 and remained popular well into the 1920s despite its daunting resem bla nce to an egg beater, although Dr Gerald Macaura would later be fined and jailed for making false claims about his invention as a cure-all and also for not actually being a doctor at all.

With the rise of electric home appliances in the 1920s, steam-powered and handcrank models gave way to much smaller and more convenient electric vibrators.

Photos courtesy of the Antique Vibrator Museum in San Francisco, CA

These were advertised in popular women’s magazines under the social camouflage of curing all number of ailments, diseases and frustrations, save for the main reason the devices were actually being used. In 1937 the Oster Stim-U-Lax came on the market, with a wink and a nod to how the device would be most often used as it was designed to be strapped directly onto the top of the hand. As the 20th century unfolded and vibrators became more ubiquitous in pornography and more accepted in pouplar culture, the general design evolved from scary to sleek. Between the 1930s and 1940s, advertisements for vibrators slowly disappeared from women’s magazines and as at-home use increased, marketing efforts shifted from cure for disease to beauty aid to weight loss tool. Finally, by the 1960s, vibrators were available for purchase at sex shops and euphamisms had largely fallen by the wayside. That said, the most popular vibrator the world ever developed, by the Japanese company Hitachi, debuted in 1968 as a sports massager. When Hitachi caught wind of what their sports massager was being used for, they removed their name from the product. Whether it’s with your hand, a vibrator or something else entirely (though I don’t recommend angry bees), masturbation is natural, normal and healthy. It won’t make you blind. Nobody has ever gotten pregnant or caught a sexually transmitted disease from touching themselves. It won’t make it harder to have orgasms with a partner. In fact, it will likely do just the opposite. Masturbation, pleasure and orgasm are our birthright and it’s time we reclaimed what is owed to us. ♦

123

By Jade Stavri – Ratcliffe

ocial media is a beautiful place, isn’t it? One day, many years ago, while I was having a stalk-a-thon on Instagram, I stumbled upon Meg aka’s Lady Weird’s account and my mind was BLOWN! This woman is a mixed media artist and I couldn’t be more obsessed with her even if I tried. From her limited-edition sleaze plates to her celluloid bangles, I just want to hand her my credit card details and my soul. We have spoken on and off for many years as

124

we’ve both ‘appreciated’ (I haven’t let on that I’m massively obsessed with her, as I didn’t want to scare her away but that may be too late now – “Hi Meg, I love you…”) each other’s businesses – mine being a vintage clothing company and her’s being the vintage inspired brand Lady Weird. This has been a great opportunity to really get to know the woman behind Lady Weird. So, I invite you to please read on – if you weren’t a fan of her before, you sure will be after this.

Your work is heavily inspired by vintage sleaze, how did you come across this genre of illustration? I loved pinup girls, especially Bettie Page and the art of Gil Elvgren. I saw many books and photos of vintage/modern pinup girls but I hadn’t come across the vintage sleaze yet, though I had known about John Willie. In my mid 20s, I met a man who loves Crypt records and Norton records; he showed me thousands of cheesy and sleazy artworks from LPs, flyers, old magazines etc. The illustrations of girls he showed me were totally different from the ones I already know, they looked like pinup girls but much cooler and crazier. I was so shocked at this world I’d never seen and I was immediately into the “vintage sleaze”.

Do you have a favourite sleaze illustrator who inspires you to this day? I have many but unfortunately, I still don’t know the name of my favorite illustrator. He was just one of the illustrators who worked for some of the sleazy magazines in the 1950s. I’ve found his works on bar supplies too but never seen his signature. I’ve been so inspired by his brush strokes and lines, the curves of girls. If this answer doesn’t sound good, I’m saying Bill Ward is my favorite sleaze illustrator. I love John Willie, of course, but his works are not “sleaze” for me.

Fetish, especially fetish illustrations, has always been designed for men’s gratification. But with your illustrations I feel you make it very female-friendly. What made you decide to draw sleaze illustrations and put them in mixed genres?

Did you go to school or university to study art or illustration? I didn’t go to art school, actually I learned the basics of sketching at fashion high school. I’ve loved drawing since I was 3; I still remember that I wanted to be a person who draws (I didn’t know the word “illustrator”) or a fashion designer when I grew up.

Do you have a support network in Japan of fellow artists who you can turn to for questions/opinions? Have you ever felt discriminated against due to your gender and working in a male-dominated genre? Fortunately there are many great artists around me who I can ask anything, but I’ve never turned to them for opinions about my illustrations, sculptures, everything I want to do. The questions I occasionally ask are about the technicalities of sculpting. I’ve never felt discriminated against. On the contrary, I’ve felt welcomed in a maledominated genre.

How and when did you start your Lady Weird brand? I started using the name of Lady Weird seven or eight years ago. I used to make fakelite jewelry and sell to the stores while working at a club in Tokyo at that time. It has been five years since I became a full time artist and then mainly started drawing/creating the sleaze things. I had been drawing the pinup girls and designing something sleaze, but actually I hadn’t drawn vintage sleaze until then!

Just because I don’t have any sexual fetishes and don’t put my sexual wishes on my illustrations like the male fetish illustrators do/did. Almost all of my fans may think I’m a fetishist but I’m actually not. In the first place, I just love to draw girls. In the second place, I just love the fetish/bondage fashions because they make girls look even more beautiful. I’ve mixed genres as I like without thinking so much.

“...But the number one achievement for me is that I could be a full time artist and I’ve been enjoying living my truest life. I’m really proud of myself.”

125

What are your top five achievements with the brand that make you proud? The collaborations with Charlotte Olympia (first collaboration was for Charlotte Olympia x MAC, second was for the 2019SS collection) and with Traci Lords and Pinup Girl Clothing for the Cry Baby Collection are ranked in there, of course. Also, I was so glad when I heard that John Waters loves my illustrations. One of the top two achievements that I’m so proud of myself for is that I’m known as an artist named Lady Weird who is creating sleaze things and I have a few tens of thousands of fans and fabulous clients all over the world. But the number one achievement for me is that I could be a full time artist and I’ve been enjoying living my truest life. I’m really proud of myself.

Japan is very famous for having a fetish/ sleaze underground culture. Is this something you were interested in growing up? This is going to sound strange, but I know nothing about a fetish/sleaze culture in Japan. I only love the “vintage” sleaze so I’m not interested in recent cultures all over the world.

How do you come up with the ideas for your next limited runs? The ideas suddenly come up into my head. But I’m finding new inspirations from old things and imagining something cool all the time; yes, all the time.

Do you produce everything yourself, from the illustrations to the figures? Yes, I do everything myself. I never want to produce my own things with someone else.

If you could describe your brand/style in just a few words, what would they be? One of a kind, I hope.

How did you come up with the name Lady Weird? Were there any other options before you settled on that name? I was into the custom culture when in my mid 20s, 126

“weird” is a popular word in that culture and I vaguely thought it would be cool for my name. The true meaning of Lady Weird is “ladylike but weird”, I thought it’s so my style. There might have been other options, but I don’t remember.

What does sleaze and fetish mean to you? It’s a very difficult question, I’ve never thought about it. I think sleaze is just the coolest thing, full of humor. Fetish is like a fantasy to me.

Tell us a little bit about Meg, the woman behind Lady Weird. I’m just a shy Japanese nerd who loves creating my own little world.

Do you have any advice for people who want to start an independent brand? Do not get inspired by other artists/brands living in the same era, inspiration comes from old things. And try to be one of a kind. This is the most important rule for myself too. ♦

Socials @lady_weird www.ladyweird.com

All Together NoW!

CLOTHING | La Femme en Noir ACCESSORIES | Splendette LIPSTICK | Fatale Cosmetics SHOES | Model's own

STYLIST & ART DIRECTOR | Jade Stavri-Ratcliffe ASSISTANT | Gabriela Schunn PHOTOGRAPHER | Yulia Oliver-Taylor HAIR STYLIST | House of Drewvid using Marcel Spray & Lustre Duo

MAKEUP ARTIST | Luka Watabe

Gem @mrsbowretro

How did you get into Vintage Fashion? My father has always been fairly outrageous with his fashion tastes and has always actively encouraged me to dress how I want. Like many others, I went through your standard skater girl, Goth, and raver phases before finding a particular passion for vintage. I would class my style as fairly eclectic; one day, I may be dressed in a classically elegant 40s style and the next like a 60s rude girl.

How has vintage sh

One of the main th wonderful people connected with as vintage scene. I ha I'd never have met become known at w this has something memorable in profe

DRESS | La Femme en Noi NECKLACE & EARRING LIPSTICK | Fatale Cosme

128

haped your identity?

hings would be all the and brands that I've a direct result of the ave made friends that t otherwise. I've also work for my style, and g I feel has made me essional situations.

If you could offer one piece of advice for those joining the community, what would it be? Don't be afraid to mash-up your style! I love to incorporate a variety of decades and sources in my outfits, including items from the high street and charity shops. Fashion has no rules, so don't let anyone make you feel you're any less "vintage" if you're not historically correct. DRESS | La Femme en Noir NECKLACE | La Femme en Noir BANGLE | Splendette

GS | Splendette

etics

129

BUSTIER | La Femme en Noir SKIRT | La Femme en Noir NECKLACE | Splendette BANGLES | Splendette

Luka

How did you get into vin

I always loved classic movie photography such as Richar Cecil Beaton, etc. I'm in love and make up the woman h beautiful and elegant, and like these woman.

How has vin

Vintage style myself to o as a woman transformati lipstick is a v woman who size or ethnic what makes y get. I admire

If you could offer community, what w

I'm actually quite new vintage fairs and events many opportunities for but it's nice to go to n There are so many p and you never know

130

Watabe @lukawatabe

ntage fashion?

es, music and especially rd Avedon, Irving Penn, e with all the style, hair, had in the era. It's so I always wanted to look

ntage shaped your identity?

e has been a big part of me expressing others and feeling sexy and confident n. I love the glamour of it and also the ion. Doing wavy hair and wearing red very special process for me and for every enjoys their style. It doesn't matter what city, knowing what looks good on you and you happy is the best inner beauty you can e the confidence I found in vintage style.

DRESS | La Femme en Noir BANGLES | Splendette EARRINGS | Splendette LIPSTICK | Fatale Cosmetics

r one piece of advice for those joining the would it be?

to the vintage community, but by going s, meeting new people has opened up so r me. SNS is great way to get to know people, new places and have a great experience. people who are passionate about vintage w whatâ&#x20AC;&#x2122;s coming next for you.

131

How did you get into vintage fashion?

How has vin

I've always been into alternative fashion ever since I was younger, I like to dress different, and it has helped evolve me into the confident person I am today. I am passionate about lingerie I started to really admire vintage garments from girdles, all the way to bullet bras! I wanted to feature my love for alternative style as well as lingerie into my everyday style, and that's where I started to really admire vintage fashion trends, vintage style icons, sex symbols and combined it into my way of styling myself with beautiful garments inspired by vintage, I guess you could say I'm a bit of glamour ghoul!

It has made tried on a v take it off. A gained so m It's such a as empower new clothin common th

If you could offer one piece of a what would it be?

TO JUST BE YOURSELF! Som certain type of people you wan up in the idea of being a certai been there), whatever happen yourself no matter what and ne of something, like a community

DRESS | La Femme en Noir NECKLACE (BEADS) | Splendette NECKLACE (DISCS) | Splendette

132

ntage shaped your identity?

e me value and embrace my body more. When I first vintage dress, it felt amazing, and I never wanted to And ever since I've grown to love my body and have much confidence in myself from wearing vintage. beautiful thing and makes me feel beautiful as well red, and it has made me think twice when buying ng, especially with how fast fashion is such a hing nowadays.

Sara

@hexedboudoirbabycloset

advice for those joining the community,

metimes it can be hard when there's a nt to mix with, and you can get caught in way to fit in with them, (trust me I've ns, will happen! Just always be true to ever think you need to change to be part y, just be your own individual self!

DRESS | La Femme en Noir NECKLACE | Splendette BANGLES | Splendette LIPSTICK | Fatale Cosmetics

133

Ju Kers

How did you get into vint

I’ve always loved history si but I entered vintage fashi 12. One day my Mum retur shops with a waistcoat, wh from the 1920s.

By the time I was 14, it w look; Doc Martens, black and tie with the waistcoat man black cardigan!

On reflection, not my be made me unique during m

How has vintage shaped yo

As my wardrobe has expand has changed unimaginably. has remained. Now it’s just personality.

134

Don’t be put off by prices never anyone my size ba is something for everyo your age or size. Never yourself!

ude shaW

SWIMSUIT | La Femme en Noir GLOVES | La Femme en Noir NECKLACE | Splendette EARRINGS | Splendette

tage fashion?

ince primary school, ion when I was about rned from the charity which I now know to be

was part of my everyday k skinny jeans, a shirt, t. Not forgetting the old

est look, but it's what my formative years.

our identity?

ded over time, my life Yet my love of vintage t an extension of my

our identity?

s. Or â&#x20AC;&#x153;there was ack thenâ&#x20AC;? There one, no matter r be afraid to be

135

Nikki

How did you get int

I've always been a vintag of fashion. I had a lot of b I loved old movies, but I day to day basis after I re fashion had nothing a â&#x20AC;&#x2DC;a certain age.' I beca fashion (no individua market, etc.) so I rev and began wearing g My biggest passion my wardrobe dates turned into a great itâ&#x20AC;&#x2122;s a hobby I get t

Redcliffe

@nikkiredcliffe

to vintage fashion?

ge enthusiast with interest in the history books, I visited costume museums, and only started wearing true vintage on a eached my 50s and found contemporary attractive or flattering for a woman of ame disenchanted with mass-market ality, poorly made, geared to the youth vived my love of the 40s and 50s styles genuine vintage clothes of the period. n is for Dior's New Look, and most of s from the decade 1947-57. Vintage has t hobby, bordering on obsession! And to do every day. How has vintage shaped your identity? Vintage has allowed me to develop a personal style that I'm comfortable with and has made the dressing through the aging process a joy rather than a headache. I find the clothes suit my attitude and outlook on life. They are timeless, elegant, feminine, ‘dressed up' (I don't do casual or scruffy!), flattering, and totally unique. My vintage wardrobe has given me confidence and liberated me from worrying about what to wear or how to make contemporary fashions work for me. My clothes give me enormous pleasure and have brought me into contact with so many lovely people around the world. I have no negatives about vintage apart from the serious damage I’ve inflicted on my bank account!

If you could offer one piece of advice for those joining the community, what would it be? BE YOURSELF!!! We all borrow styling ideas from people we admire, but there's no right or wrong way to ‘do' vintage. Develop your own look and don't judge yourself against others. Some ladies are real professionals - models, designers, sellers, etc. and they've been doing it for many years. Find a style that suits you and makes you happy. Be realistic about what fits into your lifestyle. Do your research - books, films, IG, Pinterest, exhibitions, etc. Go to a few vintage events (I love FOV, Twinwood and Goodwood Revival) to do some people watching and connect with others in the community. Above all, have fun doing it your own way. ♦ 137

AVA GARDNeR HAIR TUTORIAL

By Heather Whitsett

Ava Gardner is a legend for many reasons - her stunning acting career, her adventurous lifestyle, her whirlwind celebrity romances. For me, Ava's glamorous and easy way of walking through life is what draws me to her, again and again. In today's video, I'm recreating one of her most iconic hairstyles - a classic baby midi styled into the Italian inspired off-the-face waves she was most known for.

PRODuCT LInKS Rat Tail Comb Foam Rollers Denman Brush Teasing Brush Jane Carter Wrap & Roll Kenra Working Wax Kenra Working Spray Kenra Finishing Spray 138

tson

By F

ober R n a r

o, you want to be a good ally for your disabled friends in the vintage community? Excellent decision, because choosing not to be an ally is a real dick move! My name is Fran and I’m here to tell you all about how to create inclusive environments for disabled people. Because I promise we are out there and ensuring you cater to us doesn’t take away from the community as a whole, it just means that more people can be involved! The first and most important thing to note is that disability is not a bad word. Most disabled people prefer identity-based language, because being disabled offers a whole other level of perspective that abled people don’t necessarily have and erasing that means erasing a whole lot of lived experience that makes up who we are. By saying things like “Oh, but I don’t see your disability”, all you are doing is saying you are choosing to ignore a huge part of someone because it makes you uncomfortable. Now, let’s tackle a slightly meatier subject – what should be considered ‘Inspirational’. Disabled people who are going about our days as normal are just that – normal. We may face a few more challenges in a world that is absolutely not designed for us, but there is nothing inspirational about grocery shopping or paying the power bill when you, an abled person, does it. So just imagine how patronising it is for a disabled person when a well-meaning stranger pats them on the shoulder to tell them they’re an inspiration, while they’re in the queue at the post office. Those of us that are out there trying to be inspirational are mostly trying to inspire other disabled people to push back against a society that is perpetually surprised by what we can do. The only time I want to be an inspiration to abled people just for being disabled is if I’m inspiring them to write to their local government about the

140

lack of accessible ATMs in my city, or the need for more mobility parking, or if I’m inspiring them to consider their language more carefully. Which brings me to another really important point: the English language is incredible and we have so many amazing adjectives, so expand your vocabulary! Throwaway comments like “Oh, that’s retarded” or “She’s mental” are never okay. The situation might be unbelievably shitty and she might be a handful, but we are lucky to have such a broad and descriptive language that allows for so many more creative ways of discussing things that don’t include aggressively ableist slurs. While we’re minding our language, we also need to mind our tone and think about the impact of our words when we’re speaking to disabled people. It might be the worst thing you can imagine, but please refrain from ‘compliments’ that imply you personally couldn’t deal with being disabled. “You’re so brave, I couldn’t handle it” might feel like praise to you, but what you’re really saying is “I would rather be dead than in a wheelchair” or “I couldn’t be seen like that”. For a lot of people, this is all they know and for others, it’s how they’ve learned to live. But either way, we didn’t choose this, so implying that you “couldn’t do it” suggests that we had any choice other than just getting on with life. There is a whole load of ways that you can help to make our lives easier though and they are super simple! If you see someone struggling then absolutely ask if there’s anything you can do to help, but please don’t force your help on us. If I came here with this handbag, chances are I can carry it on my own; however, if I’m trying to wrangle three suitcases and my handbag, all while walking with crutches, then some help would be great. But please ask first! If you are an event organizer, a small note in your event descriptions or on your posters to let people know if the venue is accessible saves us having to call the venue ourselves to find out if there are ramps, accessible bathrooms and seating, or whether the venue is completely smoke-free or just has designated smoke-free areas. All of which may not seem like a big deal to you, but can mean the difference between going out and staying home for someone else.

Most dis abled pe ople pre identity-b fer ased lang u age, beca being dis use abled offe rs a whol level of e other perspecti ve that people do abled nâ&#x20AC;&#x2122;t neces sarily ha erasing ve and that mea ns erasi whole lot ng a of lived e xperienc e that makes up who we a re.

141

Maybe you’re putting together a pinup pageant or a best-dressed contest, in which case you need to have a think about your stage. Maybe hire a ramp instead of stairs, or hold it at ground level and for the love of God, don’t make wearing heels compulsory. If you are a stallholder, consider your layout. If there isn’t room to fit a stroller, chances are there isn’t room for a wheelchair or someone on crutches to navigate your stall safely. Do you have a changing room that is large enough for two people in case someone needs assistance trying things on? You might have a food truck, so along with your signs advertising your options, note whether they are gluten free or vegan and ensure your team all know what allergens are present in what dishes, including premade sauces. Also, and I know this is a touchy subject for some, please have a handful of plastic straws available. Not only are many reusable straws ineffective or dangerous for disabled people who rely on straws to drink, but paper and compostable straws are often bound with ingredients containing gluten but don’t require labelling, which can make people with intolerances very, very sick. If you are a parent and your kid is very obviously interested in someone’s wheelchair, then it’s usually okay to let them ask us about it. Don’t just tell them it’s because “that man can’t walk”, since that’s not always true and it’s better that kids learn about different kinds of disability directly from disabled people – especially because children often think wheelchairs are super cool and so do wheelchair users! Having a mobility aid that helps give you freedom is the coolest thing ever, so being able to share that side of it is way cooler than having kids think of wheelchairs as some kind of punishment device, or something to feel bad about. This is why terms like ‘wheelchair user’ are preferred over ‘wheelchair bound’ or ‘confined to a wheelchair’ – these are tools that open up the world for people, so suggesting someone is stuck in one makes it seem like a prison. Now, kids can usually get away with asking a lot of questions, but adults know better. You might have nine million questions about someone’s disability, but save them for people you know. Total strangers don’t owe you their medical history, so stick to small talk about 142

the weather, because while it might be the first time you’ve asked “So, what happened to you?” chances are it’s the eighth time I’ve been asked in the last two hours. All it will achieve is me bringing down the whole conversation with a pretty depressing story, or explaining that no, it won’t get better and that yes, I’ve tried acupuncture, and that no, there’s nothing they can do. Then it ends with me trying to make you feel better about my broken spine, which is a lot to expect of someone who has just had to condense 10 years of ups and downs into “But it’s okay, really, life goes on.’ Obviously, mine is just one of a lot of perspectives on disability and there are especially huge differences between people who have been disabled since birth and people who acquired their disabilities later in life. But what we all have in common is that we want to be accepted a n d included without a big fuss! Invite us to events, talk to us like the actual human people we are and fight alongside us when our rights are being trampled on. Simple stuff like that would open up the world for you just as much as it would for us. ♦

A Conversation with Acid Doll By Jess Wehrle

143

n the 16th and 17th centuries, the term “Gothic” was used to describe something “not classical”, and even today the term brings forth ideas of those who go against the grain of modern convention. But where did the iconic fashion of modern Goths come from? It has its roots in many places, but let’s first go back to Western mourning dress. Wearing black clothing to represent a grieving period dates all the way back to the Roman Empire. In the 19th century, mourning customs varied by country. In England, this meant wearing all black for a specific period of time depending on the relationship to the deceased, then transitioning to wearing mauve, lavender, or grey as the time of mourning came to a close. After the deaths of their husbands, widows in countries such as Mexico and Portugal were required to wear black for the remainder of their lives. The turn of the 19th century during the Edwardian or “Belle Époque” era brought about the hobble skirts and lace dresses that we still see in modern Goth fashion. Although the era lauded optimism, there was also an interest in the macabre, exemplified in places like Cabaret du Néant (where the dining experience imitated that of a funeral) and the horrific themes in the works of artists Edvard Munch, Aubrey Beardsley, and James Ensor. Launching his career in the early 20th century, designer Paul Poiret

144

(who is considered the father of modern fashion) promoted draped, angular styles heavily influenced by Eastern cultures. Nearly 80 years later, modern Goth icon Siouxsie Sioux was also showcasing Eastern influences by way of kimonos, sometimes kabuki-like makeup, and elaborately embroidered pieces.

Films also have an undeniable connection to modern Gothic st yle. Early examples include the dark and dramatic makeup worn by silent film stars like Theda Bara, as well as Louis Fellade’s serial “Les Vampires” (1915-1916), which featured a roving vampire gang and, in at least one episode, a dancer dressed as a bat. Count Orlok, the mysterious and menacing central character of 1922’s German Expressionist film “Nosferatu”, cuts an iconic figure in a long coat with a large pointed collar, ascot, and stovepipe trousers. Filmed using the same Victorian mansion and sets that many Hammer Horror films used in the 1960s, 1975’s musical horror/science fiction send-up, The Rocky Horror Picture Show, proved to be an early influence on Goth (by way of punk) fashion thanks to costumer Sue Blane. Leather jackets, (sometimes ripped) fishnets, and fetish influences all started turning up on punks in the late 1970s, the latter thanks to contemporary design

duo Malcolm McLaren and Vivienne Westwood. 1979 officially marked the birth of Gothic rock music, with the release of Bauhaus’ “Bela Lugosi’s Dead”. The genre gained enough traction that in 1982 the Gargoyle Club in London began hosting a weekly night known as the Batcave. Those known as “alternatives” had a place to dance and showcase their looks, and so the Goth subculture was born.

gradually with time and I’m really happy to see that some people are still following me from the beginning. The numbers have never been my priority – what it is is the engagement with the people that I have, all the good feedback that I receive and the lovely messages from the people who continue to support me.

Can you tell us a little about your personal fashion history? How did And who better to talk about the gothic subculture you arrive at your current aesthetic? than iconic occult and black metal lover and mistress of the dark, social media influencer Acid Since I was a child I have always been attracted Doll aka Tea? by everything dark and beautiful, mysterious and strange, horror, monsters, and other creatures. I grew up surrounded by all these things. My roots have always been there and you can definitely see it in my style, my life, and even my house interior. When people ask me to define my style I always say that I try to bring beauty in darkness. I mostly wear darker clothes with some touches of colour. My inspiration comes from different decades (1920s-1950s), everything macabre, Goth architecture and Goth art, black metal music, old horror movies, religious and Catholic imagery, Renaissance paintings. Sometimes I’m overwhelmed by all the beauty around me; all these influences are so rich and inspire me so much! My style is continually evolving; it would be so annoying to dress in the same way all the time. I am not the same person as I was when I was 15 years old. It’s like an artistic evolution. It’s mainly my desires that speak by [themselves], and I know that each day will be different. Ilove fashion, but “my kind” of fashion, where I How did you get into the world of can express myself and let my passion bloom, social media and are you shocked create and mix different pieces to make each by the amount of followers you look unique. have gained over the years? It started in 2002 with my modelling journey, first with LiveJournal, then MySpace. I feel like I’ve always been on [social media] even if at that time it was more easy, I think, there was less [pressure] than today. Sometimes you can really feel overwhelmed by social media and it’s good to take a break, to remember what is important in life. I feel like the number of my followers grew

“I always say to girls, ‘Be your own trend.’ It’s also about the attitude, not just your outfit.”

145

Let’s talk favourite why you

about Gothic think

some of your Who are your style icons and why? brands and they’re great. So many ladies! But my biggest style icon has always been Vampira – she’s the Vamp Queen, Queen of Darkness was one of the first Goth brands the perfect mix between glamour and horror. Just that I wore when I was a teenager, so a special everything that I like. mention to them. What sparked My favourite brand is Punk Rave; they have these your interest in destructured/chaotic kind of clothes, and some the occult and others really have this elegant gothic flare, they’ve practising witchcraft? really found the balance between that. I could wear all their clothes. I always felt that I had a deep connection with How do you mix vintage and nature, animals, and the Gothic for styling every day? elements around me. Quite easily. Today the only vintage clothes that I When I was a kid I always still wear are ‘90s Goth clothes that I find in thrift collected stones, feathers, stores, on Etsy, etc. branches that seemed pretty to me when I found Giant black hats, lace scarves, pointed shoes, any them in the forest. I have kind of spooky brooches, etc. Sometimes it’s just a always spent a lot of time detail that makes all the difference. I just wear what in the forest with my sister I like and what makes me the most comfortable. and my family. I think all of this helped me to become aware of many things, and before even realising it, I started to practise witchcraft. My mother also had “strange habits” – I saw her wandering with sage in the house, purifying places with incense after a fight, talking to her flowers when she watered them, always having a green hand to grow all kinds of plants, making her own tea blends with my grandmother. We laughed, often calling her a “witch”, but when I grew up things became much clearer. A couple of times, I put my practice to the side; it was quite complicated because I was alone. I had no guidance, so that led me to learn a lot from myself until I found people

that helped me understand and improve different things. Subsequently, I started to document myself and read a lot (which I still do today). I have an endless thirst for knowledge. I start too many books at once, I still study a lot of things, I want to learn, I want to understand.

Do you have a favourite horror movie/ director? It’s such a hard question as I love too many horror movies – here are some of my favourites: • House of 1000 Corpses • The Texas Chainsaw Massacre (the 2003 version) • Dracula (the Francis Ford Coppola version • House On Haunted Hill (the 1999 version) • The Hills Have Eyes • The Evil Dead (the Fede Alvarez version from 2013 is simply amazing) George A. Romero, Wes Craven, and John Carpenter are my idols! Do you have a favourite horror subgenre? Slashers are definitely my favourite! I also love everything that involves clinical/hospital themes. What got you into horror movies? The first time I saw one, completely by accident, I was 10-11 years old and I was petrified! Once my emotions subsided, a few weeks later, I could not stop thinking about the movie – I was so intrigued, I wanted to see more. So l started renting VHS horror movies at the local video club with my sister. This is how my passion for horror movies started, as well as all other things related to horror (monsters, makeup, music, spooky and dark things, Vampira, etc.) – everything became clear in my mind. I’m lucky to live with a man who has the same passion too – 90% of the movies that we own are horror.

“I always felt that I had a deep connection with nature, animals, and the elements around me.” -Acid Doll

I always love a self-made woman, and it’s so awesome that you’re willing to share your styling, MUA, and photography talents with your Patreon backers. What has the response been like to the makeover tier? Also, what made you start a Patreon? Thank you so much. For now, people seem interested, but we will see how the thing goes. As an artist, it’s not easy to live off your own art, and if people can support what you create and help you to continue to do it, it’s amazing. 147

Unless otherwise mentioned, I do everything by What bands would you recommend myself: photography, editing, styling, makeup, for the uninitiated? hair, setting up, etc. It’s a lot of work. In black metal? Really, I don’t know, because What’s your favourite makeup brand? there are so many different genres/kinds of And top five beauty tips? black metal (blackened death, raw, occult, symphonic, depressive, SBM, DSBM, black/ • For the foundation: less is more doom, pagan, orthodox and so on...). I • Once your eyeliner is completely dry, take would need to talk a little bit more to the a small brush and black eyeshadow and person to know what he/she likes, haha! ♦ put a thin line of it above. That will make your eyeliner even darker • Use a toner before applying your makeup FOLLOW TEA ON INSTAGRAM to rehydrate the skin and make it easier to absorb all the products • If I have a long shooting day in the studio or outside I like to use powder on my body that I make myself: baby powder mixed with a regular compact powder. Uniform and mattifying effect all day – guaranteed • When doing your eyeliner, always look straight ahead in the mirror, never from above or below My favourite brands: Kat Von D Beauty, Vinyl Cosmetics, Rouge and Rogue, Necromancy Cosmetica, Ash Lash Widow Witch Lashes. What’s your favourite piece to play on the piano? My absolute favourite piece is always Schubert’s Sonata in B flat major D.960 – the Andante Sostenuto part. It was one of the last pieces I played for my final exam after 15 years of studying piano. This piece has a very special place in my heart; part of the sonata is even tattooed on my thigh. Schubert and Beethoven are the composers I like the most. Speaking of music, I’ve seen you reppin’ Dark Throne and Watain. What are your other favourite black metal bands? Watain has always been my favourite band. I also really like Mephorash, Darkened Nocturn Slaugthercult, Wyrms, Summoning, Sorcier des Glaces, Emperor, Abigor, Panzerfaust, Mayhem, Enthroned, and so many more – the list is too long. 148

By Brandi Pomfret Travel for many is a luxury, and we work hard to be able to afford the cost and time needed to take ourselves away from our everyday life â&#x20AC;&#x201C; even for just a few days. For some of us, we take the act of travelling for granted, and donâ&#x20AC;&#x2122;t consider the added hardships faced by some in the world. For members of in the LGBTQI community, there are some places that may be unappealing, or even unavailable for travel, due to inhumane and unjust laws regarding things as simple as public affection. We asked a few women for their stories of times when travel felt inclusive for them, as well as recommendations of spaces where all women, however they may identify, may feel welcome. For those LGBTQI women, and others, this is for you!

149

Gab r i e la

Two amazing vintage women note that Miami is the place to be! Live your best seaside mansion life exploring the Vizcaya Museum and Gardens. Built between 1914 and 1923 in the Miami neighborhood of Coconut Grove, this estate was the home of industrial agriculture tycoon James Deering and is situated right on Biscayne Bay. This retired millionaire’s mansion features lagoon gardens, and impressive architectural features and furnishings that range in style from Italian Renaissance to French Baroque

Museum Address: 3251 S Miami Ave, Miami, FL 33129 Hours: Every day except Tuesdays from 9:30am to 4:30pm Tickets: Adults (18+) - $22, students with ID - $15, seniors over 65 with ID - $16, wheelchair users $10, veterans and active military personnel - free

The site is wheelchair accessible and wheelchairs are available for rent, but visitors should note that the gardens are gravel and not paved.

Everyone knows Miami is the real Southern queer vacation hub, but it’s also home to some fantastic historic and cultural sites as well, bound to thrill any vintage enthusiast. Here are some of my favorite go-to sites in this tropical town!

Miami Beach’s World Erotic Art Museum is an obvious stop to make for any queer art fans. Not only is the museum host to a fabulous collection that specifically highlights queer history with various traveling exhibitions and a permanent branch dedicated to gay artists, but it is also located in the Art Deco district, a seaside neighborhood with 960 gorgeous historic buildings. The collection features works from antiquity to contemporary art, housing pieces by the likes of Rembrandt, Picasso, Dali, Helmut Newton, and Bunny Yeager, to name a few. (I will note as a disclaimer that the collection of sapphic and transgender/nonbinary works are far lesser in number than works featuring cis-gendered gay men, an issue that they have been attempting to remedy as they expand). Museum Address: 1205 Washington Avenue, Miami Beach, Florida 33139 Hours: Monday to Thursday from 11am-10pm, Friday to Sunday from 11am to midnight Tickets: Adults - $15, students - $12 The museum is wheelchair accessible, as all visitors must enter through the elevator.

What would a visit to Miami be without a visit to the Art Deco district? In the heart of South Beach across from Lummus Park on the legendary Ocean Drive is the small but charming Art Deco Museum. The Art Deco tour, run by the Miami Design Preservation League, is $25 and runs roughly 2 hours. If this doesn’t fit your budget, you may have just as grand a time roaming up and down Ocean Drive. This stretch of land has historically been the landmarked queer district of Miami and is host to many LGBTQ+ clubs. You may spot the famous Carlyle Hotel, which was featured in the 1996 film “The Birdcage” starring Robin Williams and Nathan Lane as a queer couple that owns an Ocean Drive drag club. The Carlyle Cafe is open every day for brunch to dinner from 10:30am to midnight. Museum Address: 1001 Ocean Drive, Miami Beach, FL Hours: Tuesday to Sunday from 10am to 5pm

The HistoryMiami Museum is a particularly integral part of the Miami experience, as it contains a collection spanning the broad history of the area, from prehistoric artifacts of indigenous peoples to vintage ephemera from Pan Am’s expansive collection, to their massive maritime collection, and a host of items that detail the history of the Afro-Latinx community in Miami. While not a permanent feature, the museum is currently host to an exhibition on the history of Miami’s LGBTQ+ community to celebrate 50 years since the Stonewall Riots. Museum Address: 101 West Flagler Street, Miami, FL 33130 Hours: Tuesday to Saturday from 10am to 5pm, Sunday from noon to 5pm Tickets: Adults - $10, seniors and students - $8 All of the museum’s facilities are wheelchair accessible.

M oo n li g ht’s M iam i by r i k k a p e n nan e n In November 2016, I was in Florida to attend my sister’s wedding. My return flight from Miami to Helsinki was to take off close to midnight. In order to avoid boarding the 11-hour flight all sweaty, I decided to spend the day at a cinema in South Beach. I ended up seeing Moonlight, directed by Miami-native Barry Jenkins. I walked in with no expectations and, apart from having seen the trailer, I barely knew what the film was about. Moonlight had just opened in US cinemas and this was before serious Oscar buzz. I wasn’t prepared for the emotional punch. I fell – and I fell hard. I travelled back to Miami two years later, this time with my friend Piia. Miami Beach is an eccentric place, to say the least. The juxtaposition of 800+ Art Deco buildings, built between 1923 and 1943, and oiled up, tanned tourists is quite unlike anywhere else I’ve been. But Miami Beach felt a little different this time around. I think Moonlight had brought a level of mysticism to it. Piia and I had one must-visit place on our Miami list: Jimmy’s Eastside Diner (7201 Biscayne Blvd). It is the diner where adult Chiron (Trevante Rhodes) and Kevin (André Holland) are reunited in the movie’s third and final act. And when we stepped in to this classic 1960s diner, the only booth that was available was the very same one that Chiron and Kevin sit at in the movie. Fate, I tell you. Moonlight is one of my very favourite movies and it felt so special to be there – in the very place where it was shot, the city where I first saw the film, with the Kevin to my Chiron. Jimmy’s Eastside - 7201 Biscayne Blvd, Miami, FL 33138, USA | Open 24 hours!

Viva M éx i co ! with Er i n I think Mexico City is a really LGBT+ friendly state. Also, if you are into vintage it is a place where you can find a lot of historical buildings, from pre-Columbian to conquest time, to modernity. Oaxaca is another place that’s magical and pretty LGBT friendly. If you can go when there are velas (parties in Oaxacan) geared towards the muxes (third sex) it’s a beautiful experience within the LGBT realm. As Erin notes, in the Istmo de Tehuantepec region of Oaxaca, there are three genders – female, male and muxes. In their language – Zapotec – like English, there are no genders in grammar, so muxes have never been forced to explain whether they are men or women. Every November the Vela de Las Intrepidas takes place in Oaxaca. Starting with a holy mass to honour the muxes, the day continues with a traditional procession through the town. At night, the town parties with music on multiple stages and participants dressing in regional outfits.

T h e u n i t e d k i n g d o m w i t h Sy d n e y I remember going to the gay bar “The George” in Dublin when I was 18, which was my first queer-gathering experience. I was completely overwhelmed to be surrounded by people who were like me. I was fresh out of high school and only knew a handful of other queer people. I was completely enchanted walking into this bar and will never forget how safe and happy I felt there. Though the UK doesn’t always have the best reputation for being understanding, they do have their fair share of events and locations worth visiting, like Sydney mentions. Some of the cities like Brighton and London host huge pride parades each Spring that are attended by people from all over the world. Manchester has Canal Street – affectionately known by locals as Gay Village – lined with bars and restaurants all catering to a LGBTQ clientele. Of course there is also Edinburgh fringe – the world’s largest arts festival (pictured below). What started in the 40s as a way to highlight the best in arts in entertainment has turned into a massive spectacle of comedy, circus, drama, cabaret, music, and more. Taking place throughout the month of August every year, it’s an event to get swept up in, and know no matter where you go, you aren’t the strangest person there.

Mad r i d o n my m i n d with An nab e l Going abroad is what I spend most of my money on, with both myself and my girlfriend having a serious case of the travel bug, there is rarely a month where we are either not away, or planning our next getaway. In 2019, we are planning to visit three locations, Belgium, Madrid, and New Zealand; being a visibly lesbian couple however, while travelling is glorious, we do still have to be careful about where we pick. Often, I will brainstorm some ideas and then google gay rights laws and attitudes in that location. Coming from London, it can be easy to forget that we are privileged to live in a mostly liberal city. When my girlfriend turned 30 this year, we knew we wanted to mark the occasion; ideas of festivals, big parties and grand gifts were thrown about. However, none of these fit our personalities and the truth was we both wanted a break away from the stresses of real life, and to spend time together, just us two. Madrid had been on her list for a while, and me being a proud Mediterranean woman jumped at the chance to go! I had visited Spain several times as a child, but Madrid was still sat on the travel bucket list. Madrid is considered one of the most LGBTQI+ friendly travel destinations in the world, with a huge percentage of people being very pro-gay marriage and accepting of the LGBTQI+ community. Once we found this out, any anxieties that came from travelling were quelled and it was time to start planning! What’s fantastic about travelling to a city is that it can be done on a budget, and with both my girlfriend living and working in London, budget was word of the day! We are both lovers of historical architecture and art so we knew we would have no trouble finding activities, especially ones that did not cost the earth. First up was Retiro Park - one of the largest parks in Madrid, which was previously a royal park. Aside from the stunning walking routes, there is an incredible rose garden, an 18th century Greenhouse and many, many a monument! We managed to spend the entire first morning in this park, and honestly, it was a perfect way to spend a gloriously sunny morning. I would recommend

comfortable shoes and plenty of water, but if you’re a fan of horticulture, architecture, or just nature, then it’s definitely worth factoring in a few hours. Madrid, like many big cities, is famous for its art; and on this trip we stopped by three galleries, and a museum! Of course, we could not leave the city without a trip to the Prado, and on most evenings, it is free to enter for a few hours. Be aware though, this is not a secret and the line takes roughly half an hour. Once inside, we headed straight for the Reubens and Goya because no trip to a gallery is complete without a bit of artistic nudity! Once the Prado was ticked off, it was onto the Gallery of Sofia Reina, a gallery of modern 20th century art, and where many famous Picasso paintings are housed, including the iconic Guernica! It is a gallery that does not allow cameras in certain areas, so it is perfect to unplug and just immerse yourself. If art is not your cup of tea and you’re looking for a museum instead, the National Archaeological Museum is absolutely worth adding to your list! It is smaller than most classical museums, but with large airy rooms, it offers a cultural respite from the Summer heat. No trip to a new city is complete without experiencing the food and drink on offer! Whatever your palette, Madrid has a wide variety of restaurants to choose from at various price points. Both my girlfriend and I are omnivores, and as we were in Spain, we knew that Tapas was a must! Now neither my girlfriend or I speak much Spanish, so looking on TripAdvisor was necessary when it came to choosing restaurants, and for the most part this was successful. Food is mostly reasonable priced in Madrid but depending on where you go, it can end up being pricier than what is comfortable. Fantastic food can be found at a variety of price points, and high prices does not always mean high quality! If you are a drinker, then Madrid has some incredible wines and spirits. Be aware though, there is no measuring of drinks, so while

this means it tends to work out cheaper, six gin and tonics consumed the night before a 7am flight is never a good idea! Overall, Madrid is a wonderful city to visit, and even more so as LGBT+ travellers! It was on the whole incredibly welcoming, and everyone was, for the most part, very friendly. Whether you’re travelling on a budget, or splashing out, there are activities and amenities to suit all. Museo Prado Calle de Ruiz de Alarcon, 23, 28014 Madrid, Spain Hours: 10am-8pm daily, 10-7 on Sunday €15 entry, or free the last 2 hours of each day Museo Nacional Centro de Arte Reina Sofía Calle de Santa Isabel, 52, 28012 Madrid, Spain Opened 10am-9pm daily, 10-7pm on Sundays. Closed Tuesdays, €10 entry Other Madrid locations to visit: Chueca is Madrid’s gay district with numerous clubs and bars and even the first LGBTQ bookstore in Spain – Berkana. Some clubs are women only inside, though many attract a diverse clientele, all hoping for a safe space to enjoy a night out.

Pan sy St. Batti e One of my favorite places to travel to and spend time with as a queer, disabled person is West Hollywood. It’s so overwhelmingly gay, which means a lot coming from a born and raised San Franciscan. There are multiple pride flags per block. I always feel like I own the place. Tons of the businesses there are LGBT+ owned as are most of the patrons It definitely gives me a lot of freedom and comfort. On top of that, it’s a flat well paved area which is super nice as a disabled person. Most places are newer and follow the ADA. It’s easy for me to get around and to be open and unrestricted in my love and personality. Generally, it’s just a lovely place to hang out, and I often stay there when I’m in Southern California.

An o nym o u s I remember the first time I walked up to Stonewall Inn in New York City, and had to fight the urge to break down and cry. Stonewall in the ‘60s was the main place for the gay community to congregate, and though it had always been seen as a safe place, it wasn’t when a riot broke out in 1969 following the unlawful arrest of LGBT individuals. While the event sparked a movement and fight for gay rights, people in America and around the world are still fighting for equality and to be treated with respect – some with more dangerous consequences for their fight than others. I didn’t go inside – I didn’t need to – I just put my hand on the wall and thanked the building for continuing to stand strong, reminding everyone that it won’t go away no matter what. Stonewall Inn – 53 Christopher Street, New York, NY | Open 2pm - 4am daily While in NY: Henrietta Hudson – the lesbian-owner and operated bar has been a staple for over 25 years. Each night features different music and themes so check their calendar for information Dances of Vice (pictured right) organises a variety of performances for all audiences. In Spring they host pride-related events, and year-round can be found putting on stunning burlesque, fetish, and cabaret shows where audience members from all walks of life are welcome. Thankfully there are festivals around the world that cater to all members of the LGBTQI community – places where one can party freely. One of the major ones is the Sappho International Women’s Festival (womensfestival.eu) - a twoweek long LGBTQI holiday in the small fishing village of Skala Eressos, where every event is organised by women, for women. Gay women around the world started travelling to the town in the ‘70s to seek out the birthplace of Sappho – the Greek poet known for her love of women. At the festival, you can lounge on their pristine beaches, support lesbian-owned local bars, visit a thermal space or practice yoga, and catch up on films during the LGBT film festival. Websites like travelgay.com, travelqueers.com, and nomadicboys.com are invaluable resources for those looking to get out into the world with their partner but are worried about whether they can be their authentic selves while away. Also helpful for travel planning, misterbnb.com is the Airbnb equivalent for the LGBTQ community with confirmed safe hosts, while purpleroofs.com is a search engine locating gay-friendly hotels around the world. While there are still many cities that are less than safe, many are, and many more are joining their ranks every day.

Be brave, be you, and travel happy! ♦

Diverse Paths to Success E N T REP ENEURS TA LK PA SSION, INSPIRATION & FOLLOW I NG TH E IR VINTA GE DRE A MS by Bebe Bardot

Itâ&#x20AC;&#x2122;s no secret that starting a business is tough work. By most accounts, the path to entrepreneurial success is paved with sleepless nights, costly trial and error, and big leaps of faith. It can be even tougher for women of color, who may face distinct challenges such as lack of representation, discrimination, funding difficulties, and more. But even with those obstacles in the way, women of color entrepreneurs are on the rise. This is even more evident in vintage industries, where women of color are creating and designing products that showcase multiple facets of what it means to be a vintage woman in the modern age. We spoke with three women of color entrepreneurs on what drives their passion and the advice that they would give to rising women of color entrepreneurs. Read their insights below.

Cam Huggins BO W & C R O S S B ON E S Cam Huggins of Bow and Crossbones designs handmade jewellery inspired by rockabilly, vintage, and retro fashions. She makes items by hand, and launched an online store in 2008 to keep up with the popular demand for her jewellery. Cam used to work in the tattoo industry, but she soon grew bored and decided to strike out on her own. Bow and Crossbones collection items have now been featured all over the hotrod and rockabilly circuit.

had collected from the 1930s onwards. I have always had a love for creating and art. I literally can take inspiration from an original piece, reproduce that item and build a full jewellery collection around that one design â&#x20AC;&#x201C; or see a pattern on a vintage dress, or even create something from scratch from playing with charms and/or sketches.

What or who inspires your vintage collections?

When did your passion for vintage fashion begin?

I can remember from an early age always playing with my gran's jewellery and knick-knacks, which she

I have always had a love for vintage, art, and creating things. My mother is an amazing

156

artist, and she always inspired me to create when I was a kid. In school, I always did better at creative subjects than academic areas. What advice would you give a woman of color who wants to start her own business? As I would say to ANY woman who wants to start their own business: work hard, know your market, stand up for what you believe in, enjoy it, and have a passion for it!

157

Adri Law PH O T O GR AP HE R

& PA R A D ISE RO AD SH O W CO - FO U N DER

Based in Los Angeles, Adri Law is not your typical vintage sweetheart. Most photos show her adorned in characteristic all-black clothing that matches her jet black hair, and her motorcycle and camera are never too far behind. She’s a co-founder of the Paradise Road Show, which is a classic car, hot rod, and motorcycle showcase inspired by pre’76 classics – meaning that she’s no stranger to working in male-dominated industries.. What inspired you to start the Paradise Road Show with your co-founders? There are tons of great motorcycle shows and no shortage of car shows, but we wanted to have something that married the two. Coming from the motorcycle scene, which is quite diverse in every way, we noticed that car shows are dominated by older men. We aimed to create a place for the younger generation that is interested in both worlds. When did your passion for vintage fashion begin? In your eyes, how does vintage fashion merge with classic American car and motorcycle shows?

I've always been interested in old things...photos, cars, antiques, you name it. I started thrifting early on in high school and I would sneak off campus on my lunch break and spend all my money at the thrift store down the street. I always fancied a pin-up look, but really started getting into it about four or five years ago. I personally feel like the old clothing and the old cars go hand in hand – they each complement each other just perfectly. What advice would you give a woman of color who wants to start her own business? The advice I would give any woman wanting to start her own business is to make sure that it’s something you are passionate about. It’s going to be tough and you will get frustrated, but it will make you stronger and it’s nothing short of an amazing feeling doing what you love.

158

Juicy JUI C Y AC C E S S OR I E S Based in Japan, Juicy of Juicy Accessories takes huge inspiration from 1930s and 1940s fashion and golden era accessories, and occasionally re-purposes them in her own accessories line. Some of the products she sells are even made to order. Through the power of the internet, Juicy has become a name not only known in Japan but all over the world.

really encouraging and praised my pieces, and that’s what inspired me to really start selling them. What has been best thing that has happened due to running your own business?

What inspired you to start the Juicy Accessories business?

I’d say the best thing would be having met all the customers who keep coming back to me to buy my accessories. Also, the fact that it’s not just Japanese people who like my work but people all over the world who enjoy what I’m making.

I’d been making accessories as a hobby, but one day the organizer of the biggest antique

What advice would you give to another woman who wants to start their own business?

market in Japan, “Super Junk Show Tokyo”, asked me if I wanted to try selling my wares there, so I went and set up shop! Then, it just so happened that the first customer who wandered over that morning was a French designer whom I absolutely adore and just happened to be in Japan. She was

I would say go for it! With social media nowadays, you don’t even have to limit yourself to your own country – you can spread your message all over the world. ♦

159

Pin Up Hair Flowers

Dress Corsages - Hair Flowers Vintage Hair Accessories - Vintage Jewellery

Visit Our Etsy Store - Shazamhairflowers

www.pinuphairflowers.com

Under the Influence: 9 Steps to Becoming Insta Famous

By Laura Butcher

For a community best expressed visually, it is no wonder that the vintage community has gravitated towards Instagram as the social media network of choice. What was once just a place to share food photos with friends has evolved into a brand-building platform for the socially savvy. Whether it’s due to the simple and addictive scroll design, or the eye-catching visual content, Instagram has become the top engaging social media platform. Because of this high engagement rate, the last few years have seen the rise of professional Instagram Influencers. Here’s how you can make Instagram work for you, whether you are looking build a business or a personal brand.

1. You’ve Gotta Get a Gimmick First thing’s first, you need to find your niche. Is it hair? True vintage clothing? A certain era? Figure out what makes you you and stick with it. People will follow you on social if they are interested in the same niche or topics you post about, but only if they feel you are genuinely interested in the subject.

Life has beautiful, perfect moments that beg to be shared, but life isn’t all about these moments. It may be the beautiful moments that bring in the followers, but it’s the personal and human moments that help you keep them.

3. Be a Social Butterfly

Engagement with your followers creates loyalty. Loyalty is what gets (and keeps) followers. Followers are what make you Insta famous. Take time to thank them, reply to comments, and answer DMs when possible.

One of the best new ways to engage with followers is by using question stickers in your Stories. You can ask followers about themselves, and what they want to see from your account. Poll and voting stickers work in the same way. If you show followers that their opinions matter, you’ll boost engagement and show your dedication to your audience.

Some influencers choose to have separate accounts for different aspects of their lives, rather than lump everything together. For example, some have seperate accounts for adventures in fitness, food, or travel. There will typically be some overlap in your followers if you have two accounts, but this strategy can help you appeal to a broader audience. This approach is best applied after you have gained a significant following in your main account.

On the flip side, never hesitate to block someone if they become too intense. Blocking can stop inappropriate or excessive DMs and comments, which can be good for your safety and your peace of mind. Set up clear boundaries for yourself and your account from the start, what you will tolerate and what you will not, and stick to them.

You might also decide if you want to follow a certain aesthetic. Some accounts use a specific colour palette, or they have one particular filter that they lay over their images for consistency. This isn’t necessary, it’s just personal preference.

Switch your Instagram account to a business account. After all, you’re in the business of selling your personal brand. A business account doesn’t require that you are actually running a business through Instagram. It will, however, give you access to insights, which can better help you grow your following online. These analytics can be used to help you determine which hashtags bring in the most views, which days and time of day feature the highest engagement rates, and give you details about the demographics of your followers.

2. Be True to Yourself

“Authentic” is a word that’s often thrown around on Instagram, but being truly, authentically yourself will help you gain and keep followers. Showcasing a fashionable and aspirational life is often the goal of top influencers, but the best succeed because they also display the innately human aspects of their lives. If your followers can identify with you, with your struggles, your triumphs, your passions, then they will stick around.

4. Upgrade to Business Class

You can now evaluate the data from your Instagram stories as well, and this can help you determine the content that gets the highest engagement.

161

5. #Hashtags Hashtags are one of your most valuable assets for expanding your audience, and there is a lot to be said about them. Instagram now allows users to follow hashtags as they would other users. This is a great way to connect with like-minded Instagrammers, bring in new followers, and improve engagement. Using hashtags that will appeal to the audience you want to attract is key. When strategically using hashtags, research is of the utmost importance. You’re probably already doing it, but be sure to check the types of posts associated with each hashtag before you use them yourself. Once you find the right hashtags for your account, stay up-to-date on them. The last thing you want to is be associated with a hashtag that was overrun with inappropriate content and has been limited by Instagram. You can use up to 30 hashtags in a post, but please don’t. The most current social media marketing research shows that nine hashtags hits sweet spot for best engagement. While throwing a whole lot of hashtags into to the ether was how it was done a few years ago, it can actually work against you now. Instagram’s guidelines state that “posting repetitive comments or content” isn’t okay, and they consider excessive use of hashtags to be spammy - particularly if you use the same group of hashtags over and over again. Instagram associates this with bot activity, even if you’re manually typing them in every time. Limiting your hashtag use can be tough, particularly if you use a custom hashtag for a business or personal brand. If you want to avoid a shadowban, try not to repeat the same hashtags for every image you post. Don’t forget to add hashtags to your Stories to make them searchable; you can add up to 10. If you don’t like the look of hashtags in your Story, pro tip: you can minimize them and hide them behind a sticker.

6. Become a Film Star

Videos make for great and engaging content. Until recently, Instagram would only feature 60 second videos in the main feed. Due to the inception of IGTV, you can now share longer videos in your account. If you have a YouTube Channel, you can share these videos to IGTV, or vice versa. You can also share longer videos in Stories, though these are broken into 15 second segments. The upside of videos in Stories is that you can tag other accounts, and add hashtags and other fun effects like stickers and gifs.

7. Get Yourself a Girl Gang Because the Instagram algorithm gives top-offeed priority to posts with high early engagement, more influencers are turning to the pod system. An Instagram pod is a group of 15 to 20 people in the same industry, or with similar accounts, who are all in a direct message group together. When someone posts something new they share it in the DM to inform the others, then everyone in the pod is expected to like and comment on the post right away. If the post gets a lot of engagement within the first three hours, it’s favoured by algorithm. Technically, Instagram pods aren’t banned from the platform, however, they aren’t totally condoned either. Instagram doesn’t really want people trying to beat their algorithms. Also, being a part of a pod is a lot of work. Imagine having to like and comment on several posts per day, for 20 accounts, as soon as each post goes live. So here’s what you do instead. Get your gals together and create your own Instagram promotional group. It likely won’t be as large or as regimented as some Instagram pods, and it sure as heck will be easier than finding a pod to let you join (since they’re pretty secretive). Set up a group chat and let each other know when you’re posting new content. Then, whoever is available can like and comment on each other’s posts.

8. You. Better. Work.

Content is Queen, and you’re going to need quality content - and plenty of it. This always starts with the right equipment. You don’t have to run out and buy a DSLR, but you do need to make sure you have a camera that produces crisp, high-quality images. Instagram is all about the visuals, so don’t skimp on the quality of your images. One handy item is a tripod. Not everyone has an Insta boyfriend (or girlfriend) handy for non-selfie images. Set your tripod up with your camera on a timer, pose, and voila! Full length photos of you with no help needed. Smartphone tripod attachments are pretty common these days, so you shouldn’t have a problem finding one that is affordable. Chances are you don’t have the freedom to schedule your life around Instagram posts, so look into

getting a scheduling app. Do some research on the time of day that gets the best engagement (you can use your account insights), schedule a post, and forget it. Keep your posting consistent, as well. If you want to grow or maintain a follower group, you need to give them what they want, and often.

9. Think Beyond Instagram

You should definitely cross-post your Instagram content where possible and appropriate. Share your images on Pinterest, or link your account to a custom Facebook page and automatically share your pics. You could also start a Facebook Group for your followers. This gives them, and possibly others interested in your niche, a forum for discussion. Another option is writing a blog. This is certainly not for everyone, but having a blog or a website can help draw in new followers from outside of Instagram. Sharing your special skills or interests online, outside of social media, may improve your reach. All of this can amount to a lot of work, but the bigger the reach you have online, the larger your follower group will grow.

Checklist ❏ ❏ ❏ ❏ ❏ ❏ ❏ ❏ ❏

Pick your niche. Be authentically you. Engage with your followers. Get an Instagram business account. Use strategic hashtags. Make use of video. Enlist your friends to support you. Be prepared to work hard. Cross promote your account.

The ultimate goal of becoming Insta famous will be different for everyone, but for many it is related to sponsorship, partnership, and monetization. Using the tips above will help you achieve a successful Instagram account with which brands will want to partner and people will want to connect. ♦

163

Subversive

Surrealism

MODEL | Ashleeta Hat | Ashley Swift Millinery Brooch & Bracelet | FaCraftStore Blouse | La Femme En Noir

MODEL | Banana Charm Hat | Ashley Swift Millinery Gloves | La Femme En Noir

ormally when you think of automobiles you think of this being a hyper masculine pursuit, but you’d be surprised by the number of women joining the car community, especially the vintage car community. These women may look lovely in their vintage attire, but rest assured these people are not afraid to get under the hood and check their own oil. Women and vintage cars may be niche, but when women do something, they do it RIGHT! That’s why I had to speak to the scientist by day and race car driver by the weekend, Scarlett Devey to get more of a scoop about the vintage car community and how she got involved in it. What is your first memory of being inside a vintage car and why did you decide you needed a vintage car in your life? Too many to count! I’ve been around vintage cars my whole life. My earliest memories are probably going up and down my road on my bike while my dad and brother worked in the driveway on their current car projects. I was always excited to go for rides even from a very young age and loved the smell, look, sound and attention! I don’t think I ever consciously decided I needed a vintage car in my life, it was just the natural next step when I was old enough to drive. What was your first vintage car and how did you find it? What made you decide that particular make and model was the one for you? I’ve always driven my family’s cars but my first one which was completely my own was my 1953 Austin Somerset. I found it just by looking online at adverts and it turned out it was only around a half an hour drive from me. I’ve grown up around American cars but I could only afford a British one,

plus being quite young the insurance cost was absolutely through the roof so I had to purchase something I had the money for – it’s an incredibly boring reason but it’s the truth! However, as soon as I went to view it I absolutely fell in love. I adore the lines of the body, they are so swoopy and I love the way the fenders fade away. The paint was completely original and naturally patinaed and it had very few owners since 1953, who had clearly cared for it as there is literally not a speck of rust. Inside someone had attached a coat hook under the dash which I’m sure must’ve been used as a handbag hook… and still is! It’s also quite an unusual model for someone who was so young to have which was a bonus. You have been known to get behind the wheel and race vintage cars, how did you get into that? Have you been made to feel, because you’re a woman, that you shouldn’t be racing vintage cars? Or has it been a truly open and welcoming experience for you? Again that was just something that happened naturally. I’ve always been told cars are for using, driving, having fun with and absolutely not there just to sit in a garage with

one outing a year. In 2011 I was 17 and passed my driving test. Literally weeks later I was encouraged to enter into the Flathead Meltdown which is a vintage drag racing event at Shakespeare County Raceway. So I borrowed a helmet off of a friend and had an absolutely amazing weekend drag racing. After that I had the bug and any opportunity that came up I would want to take part. I wouldn’t say I’ve ever been made to feel like I shouldn’t be doing that because I’m a woman, perhaps more the opposite really! What is the make and model of your current car? Are you doing any of your own alterations or have you had any alterations done to it? I still have my Austin Somerset but it’s currently undergoing some dramatic alterations! When I first got it, although the bodywork was in fabulous condition, the engine wasn’t and I spent a lot of time in the first year of owning it sitting on the side of the motorway broken down. Eventually enough was enough and it became apparent the original engine was just not up to the standard I needed so it’s now been replaced with a Ford Pinto engine. It still has a great sound but is more reliable and faster! Shortly after this I was at a sprint course track day, which a friend had organised for a few of us that had vintage cars. Unfortunately I went too fast round a bend and ended up rolling the poor car. Thankfully I was completely fine but the passenger side of the car was essentially crushed. Luckily these old cars are tough as old boots and the people I was with helped me get it back on its wheels, banged out the metal as best they could, got the engine going again and I went round the course again and drove home as normal. I absolutely loved the battle scars – it gave the car character and made it look super mean. After a few years of that though it was time to move on and now it’s being turned into a super cool British Kustom! It’s had a roof chop, the grill has been altered, it’s

been turned into a two-door coupe, it’s been lowered and the shape is essentially completely different to what it was. This is a massive amount of work and we’re about a year into it now. The end is in sight though and I’m currently choosing paint colours and interiors! Do you think it’s important for people to understand cars and how to fix them, as you are very hands on with your own car? Absolutely, I am so incredibly lucky to have a family who have a massive amount of knowledge but are also are willing to work on my car for me. My dad has spent hundreds of hours on the alterations and engine re-build mentioned above and will probably spend hundreds more! I help out with simple things like paint stripping, undersealing and sanding but he does all the important stuff and I wouldn’t be able to have a vintage car without him. It’s not glamorous work and you have to be prepared to get dirty and put in a lot of effort but the outcome is definitely worth it. I would say if you aren’t very hands on or you don’t have anyone to help you, be prepared to spend a lot of money! If you could purchase any vintage car what make, and model would it be and why? I would buy a Dodge La Femme, which were produced 1955-1956. They are super rare and I’m not sure ever really took off but they had lots of cool little features like gold interiors, a compartment which you could get your name engraved on to store your handbag, umbrella, coat in etc. and this is incredibly cliché but when you bought one you would get a purse which matched the interior of the car complete with face-powder compact, cigarette case and lighter, comb and lipstick case. It’s so cheesy but I would love to get my hands on a complete set! If someone wanted to get into the vintage car scene would you suggest joining a car club? Or forming their own club? I imagine that if you don’t have friends or family as a connection to the scene, trying to get into it can be quite a daunting prospect. I would absolutely suggest joining a car club; you will make friends, you’ll be introduced to more events and you’ll be able to show off your car! In my experience car people are some of the friendliest people you will meet and are always willing to share knowledge and help you out.

What are your favourite events? Weekends that you go and drive your car, or go to see other vintage cars?

Last question, are there any other ladies or people that own vintage cars that you really admire and why?

My favourite events are some by the Vintage Hot Rod Association, mainly Pendine Sands Hot Rod Races which consists of racing along Pendine Sands beach in Wales and GOW which is a speed hill climb event. I also love going on reliability runs which are basically when a group get together with their cars and organise to drive an interesting and challenging route usually over a weekend. I donâ&#x20AC;&#x2122;t tend to go to many car shows where you just park and sit in a field all day; I prefer to have more fun driving and going on adventures!

My number owns many writer and great style

If someone was thinking of purchasing a vintage car, what would be your top tips? Hmmâ&#x20AC;Ś I suppose my top two would be: It is very unlikely your car will be perfect when you buy it, be prepared to spend time and money ironing out the bugs. Join a car club or groups on social media, find relevant forums, and find events to go to, join in, make friends and drive your car as much as possible!

one lady I admire is Sarah Bradley.She vintage cars and bikes, is an automotive editor, races at every opportunity, has and is an all-round ultra-cool lady! â&#x2122;Ś Follow Scarlett Devey

THE WEATHER Today will be sunny with a slight chance of smut

For the Lov

WARNING: THIS ARTICLE CO

VOLUME XXX Hello, I’m Sara Wood of Lilies and Remains Vintage. I am a long time vintage fashion collector, mainly obsessing over the 1930s and 1940s. My lust used to be focused on clothing, but as time has gone on I’ve thrown my full heart, and wallet, into what really checks my boxes - pre-1960s erotica. To give a back story, I had a severely conservative and religious upbringing, but luckily turned out to be rather a darkling - and a huge bi kinky weirdo. My collection spans a range from fetish and kink photography, to Tijuana Bibles, to full blown hardcore pornography. I spend a lot of time in small towns finding beautiful dresses to wear and sell, and it was honestly these obscure and often conservative places that truly turned me on to my passion. My favorite instance was when an adorable and quite ancient woman at a rural antique store saw me looking at some tame pinup postcards, and ended up selling me her late husbands stack of pornography from the ‘50s. “He used to keep it in the back 172

FRIDAY, OCTO of the closet to hide it from me, but I always knew it was there,” she said with a giant smirk. He was apparently very into group sex. It brings me joy to this day that she always knew about the pile, and that she kept it around to eventually find it a new home. Many people are taken aback when they first learn about my collection; the main question I hear is, “why?” I’d like to say the answer is simple, but like any deep-seated personal passions, there are many facets. That’s what makes it fascinating and special. To answer that question, I’ll have to give you some background about the market and legality at the time. Pornography was highly illegal in the

ve of Smut

WORDS BY Sara Wood a.k.a. Lilies Remains

ONTAINS GRAPHIC CONTENT

OBER 10, 1930

2P PER COPY over faces, giant sunglasses, horrifying Halloween masks, paper bags - you name it. These proofs were then sold to distributors, who held them behind the counter to sell to those in the know. These distributors also paid for an abundance of product to be imported from Europe - predominantly from France and Germany, before WWII hit. The poverty-stricken economy of Germany during this time pushed many women into sex work, lending itself to a booming sex industry, including a large quantity of smutty exports.

US during the span of the decades I collect. So where did it come from? Some of it was paid for and produced by professionals - typically it was the photographer who was the “professional”, whereas the participants were often sex workers, or simply a gal doing a one off for extra funds. Much of the lower budget material was shot in people’s homes, and they found very creative ways to hide their faces to avoid any future consequences. I’ve seen blankets

Fetish erotica, and pornography in particular, had deep roots in Europe - the history is a bit convoluted, as many of the photographers and studios were also producers of fetish gear such as harnesses, corsets, and high heels. The overlap between who photographed for which companies, whose studio was used, who provided the wardrobe, and who modelled was immense. My favorite heavy hitters from the period are Ostra Studios, Biederer, Yva Richard, Jean Moral, Grunworth, and lingerie companies such as Diana Slip. All of them had work imported to the US, where it was distributed and reprinted. In the US, Charles Guyette opened his clothing and photography studio in 1930s New York. He was one of the earliest domestic fetish pioneers. It was not until WWII dried up access to the smut trade from abroad that more stars began to rise in the US. John Willie, Leonard Burtman, Irving Klaw, Eric Stanton, and Gene Bilbrew are 173

For the Love of Smut arguably the top five most influential. Some were producers and distributors, some made their own magazines, others created graphic art. No matter what they did, there ended up being a splash of Guyette in there as well - they reprinted his earlier photography, they borrowed or bought his heels and corsets, and their models often overlapped. Guyette’s costuming even showed up in more vanilla cheesecake pinup magazines like Robert Harrison’s Wink, Titter, Eyeful, etc. There is nothing that puts a bigger smile on my face than a mainstream magazine showing off a stripper babe donning a particular corset and fetish heels, only for the same ensemble to show up on Bettie Page bent over on a couch not long after. The history of American fetish publications and photography is particularly fascinating because of the obscenity laws in place at the time. Magazines such as John Willie’s Bizarre, or Leonard Burtman’s Exotique, were sent through the mail. They had to toe the line of being desirable and titillating to their clientele - but arguably legal. Bizarre was marketed as “a fashion fantasia” for “bizarre fashions”. There was no nudity, no explicit or graphic writing. The idea was that it could technically be argued in court that it wasn’t about sex at all - after all, what kind of good, honest American would find high heels sexual? It’s laughable in retrospect, but it was just as laughable then. They even went as far as captioning full rope bondage scenes with tongue in cheek statements like, “don’t let this happen to you - learn jiu jitsu”. I can just see it now - “it’s just about self-defense, your honor”. As 174

FRIDAY, OCT

TOBER 3, 1930

...CONTINUED FROM PAGE 2 hard as they tried to avoid legal consequences, many of them were dragged into court repeatedly over the years. All of this history boils down to the first reason I started collecting such objects - it was illegal, and thus inherently more rare and covetable than pretty dresses from the same era. It also becomes more scarce at a faster rate than clothing. It’s easy to imagine why - someone’s grandmother passes and they cherish her dresses, passing them down for the next generation to love; They hold them of high sentimental value, show them off or they sell them to shops and find new homes for them. In contrast, when someone finds a stash of dirty photography in their grandparent’s house, it’s often thrown away in hasty embarrassment. This is doubly true when it’s oriented towards BDSM, kink, queer, or all of the above. It isn’t necessarily about uncomfortable family members getting rid of items, as estate companies do the sorting and still throw these items away. It often boils down to personal distaste, or simply not realizing there is any monetary value in such objects. You’d be horrified to hear how many times I gather the courage to ask someone at an estate sale if there was any naughtier material, and they quickly tell me “yes but of course we threw it out!” (Cut scene to me digging through a garbage can.) It’s such a shame too - and this is the second reason I obsess about collecting these pieces - they truly tell a story about the past. There is a common and spectacularly inaccurate notion that things used to be more prim and proper back in the day. This 175

For the Love of Smut

simply isn’t true. “Decency” laws have changed, thus media has changed. It’s easy to envision a past that was squeaky clean when what is widely available to consume is post- 1934, when they began censoring the film industry. Our culture is quick to feed on “wholesome” nostalgia - which is, frankly, nostalgia for a thing that never existed in the first place. People can try to argue that society’s morals have changed, but that isn’t exactly it. People have always just been people, but today we can be more out in the open about being ourselves and censor ourselves less. Human desire has not changed. People were still having premarital sex, cheating on their spouses (probably moreso then, actually), looking at pornography, into every kink imaginable, and just as many were queer. A fellow vintage seller told me a fantastic story recently, which is a great illustration of my point. He was let into an estate by a family member, before the estate sale company started sorting. The man who had passed was a WWII veteran, a happily married man with several children. My friend was filled with excitement as he opened a large military chest, it’s one of the main things he sells. Well, my friends, this chest was not filled with uniforms. It was filled entirely with dildos, of all shapes and sizes. Many were homemade by this gentleman. Apparently, he and his late wife had a bit of a passion people have always been the same, even if our culture evolves.

176

...CONTINUED FROM PAGE 4

Given all this, I believe “low brow” material of past eras offers much more insight into the true core of a society. Gossip magazines, cheap pulp novels, bad joke books, novelty gag gifts, you name it - the “trash” of a generation can provide the deepest peek. Sometimes, this exposes the dirty laundry of a culture - things like racism, misogyny, and homophobia for example. But it can also be a window into a world of inclusion. This is all particularly true of pornography. I love seeing the wide array of representation - where else would you have been seeing queer or mixed race couples in 1930s American media? The fetish smut umbrella was even more inclusive as their publications allowed a safe space for all the “outliers”, as long as they had a common kinky ground. You can see heteronormative lusty commentary over a woman published a page away from a trans woman’s correspondence showing off her new rubber trench coat. No one bats an eye, as it should be. Basically, smut is proof that the world I want to live in today has always existed, it just used to be more hidden. It’s a world that is multi-ethnic, queer, body positive, sexual, experimental, and, well - fun. A more ideal glimpse of the past’s reality is hidden in these images, we just need to look a little deeper. Or you know, gather the courage to ask an elderly stranger what they may have hiding away.♦

by Molly Elizabeth

n 2019, 50 years since Stonewall and at a time when gay marriage is legalised in many Western countries, it would seem odd to cover up the true sexualities of celebrities, right? When stories of famous men having beards (a term for a woman who marries a gay man to cover their true sexuality) arise in the media many of us are shocked and surprised at how people can be made to cover their identity in this modern age of tolerance and equality.

The truth however, is that this isn’t a new practice and was happening many decades ago in the Golden Age of Hollywood. While there are some stars whose sexuality we may never know and can only speculate, there are a few who we know for certain were LGBTQ+. In Old Hollywood, from the ’20s–’60s, if you were a star you were pretty much owned by your studio; you made the films they asked you to, attended the events they asked you 177

to and did the PR they asked you to. After all, your image was the most important thing about you, perhaps even more so than your talent, and your image had to reflect the beliefs and customs of the general public in order to keep their gaze and adoration. When a studio found out you weren’t heterosexual, as you will soon discover, they would pull out all the stops to make sure the public didn’t find out or suspect anything. Thankfully for us, some stars did come out later in their life, when homosexuality was legalised on May 22, 1967 at the Supreme Court, and the taboo somewhat lifted. However, it must be noted that although some stars may have striking evidence to suggest they were LGBTQ+, many never confirmed it themselves and so the sexuality of some of the people spoken about in this article is mere speculation. Rock Hudson, star of films such as ‘Pillow Talk’ and ‘All that Heaven Allows’, is one of the most famous Old Hollywood stars to have come out as gay. Ever since he first came onto the Hollywood scene, rumours of Hudson’s sexuality became common knowledge and in order to stop a former lover of his from exposing him and thus jeopardising his career, Hudson married Phyllis Gates in 1955. The marriage only lasted three years. He continued in the ’50s and ’60s to be one of the most well-known actors of his day, and he managed to keep his sexuality secret with only several close friends, including Doris Day, being aware of his homosexuality. Hudson was forced to come out when the press stopped believing that his rapid weight loss was from anorexia; in fact he had AIDS. When the truth of his sexuality and his health became public knowledge in July 1984 people were shocked and terrified – a reflection of the world’s perception of HIV/ AIDS at the time, which was a belief that it was a ‘gay disease’. In later years it was accepted that anyone could contract the disease. Sadly, Hudson died in October 1985 of complications associated with AIDS. 178

Greta Garbo, the Swedish Hollywood star of the ’20s and ’30s was widely known to be bisexual in the Hollywood community; she also never married or had children. Garbo was romantically and sexually involved with several Hollywood female starlets, with rumours of affairs with Marilyn Monroe and Billie Holiday, the most famous and passionate being with the powerhouse Marlene Dietrich. Dietrich met Garbo before she became famous when she was just 20 years old. Garbo fell deeply in love, whereas for Dietrich it was only a relationship for pleasure, and when the relationship inevitably broke down, Garbo was so distraught and hurt that she refused to acknowledge Dietrich for the rest of her life. However, love and happiness would haunt Garbo as she went on to live a reclusive and lonely existence. Although she was clearly head over heels in love with Dietrich, the true love of her life was the Swedish actress Mimi Pollak, who she met at drama school, and they kept correspondence for 60 years until Garbo’s death, but it always cast a shadow over that she could never quite escape.

One star that we can confirm had homosexual feelings is Marlon Brando, and he confirmed it with some ease. Over the course of his career the female heartthrob and two-time Academy award winner was rumoured to have had relations with James Dean, Cary Grant and Montgomery Clift. Although these affairs have not been confirmed, Brando did say in an interview in 1976, “Homosexuality is so much in fashion, it no longer makes news. Like a large number of men, I, too, have had homosexual experiences and I am not ashamed.” Whether Brando was bisexual or gay or somewhere else on the wide spectrum of sexuality, he wasn’t ashamed of admitting his feelings during a time where homosexuality was so taboo. There is one Hollywood power couple who we cannot directly confirm were both secretly homosexual, but there is evidence, as you’ll see below, to suggest it was so. Katherine Hepburn and Spencer Tracy’s 25-year-long relationship looked like any other heterosexual pairing, but some have suggested that perhaps it was a relationship of friendship and nothing more. Larry Kramer, screenwriter and gay rights activist, claimed of the famous Hollywood couple, “Hepburn and Spencer Tracy are both gay. They were publicly paired together by the studio. Everyone in Hollywood knows this is true, but of course I haven’t seen it printed anywhere.” Although this is just one claim, it does make sense and I wouldn’t put it past a studio of that time. If it were true and Spencer Tracy was gay or bisexual, then there may be deeper reasons as to why he wanted to cover this up. Brought up Roman Catholic and very religious, Tracy didn’t divorce his wife Louise, with whom he had two children, even though they became estranged because he deemed it to be a sin. They were married from 1923 until his death in 1967. So, if divorce was too scandalous for Tracy, then I’m sure homosexuality was too.

I mentioned Marlene Dietrich earlier, but this bisexual Old Hollywood goddess deserves some more time! Dietrich was a fan of the thriving gay and drag scenes of 1920s Berlin and defied gender stereotypes by dressing in a more masculine manner and even going boxing at Sabri Mahir’s studio. Throughout her career Dietrich had countless numbers of affairs, almost all of which were known about by her husband, many of which were with men, but just as many weren’t.

She referred to her homosexual antics, and those of the other lesbian and bisexual actresses in Hollywood, as the ‘sewing circle’, a term coined by actress Alla Nazimova, with members alleged to include Ann Warner (wife of one of the owners of Warner Studios), Errol Flynn’s wife, Lili Damita, and Dolores del Río. There were also rumours that Edith Piaf may have been a part of the infamous ‘sewing circle’. Don’t feel sorry for her husband however; she maintained he and his mistress had a wonderful life in Europe, and later in San

179

Fernando Valley, near Hollywood. Hollywood was full of more scandal than people cared to acknowledge at the time and many a homosexual Hollywood star went under the radar, even if there were attempts to out them in ‘Confidential’ magazine. It is true that most of Old Hollywood was completely stage managed, from fake relationships to actresses taking drugs to boost energy; it was sadly a dangerous and damaging environment to be in, gay or not. We tend

180

to look back at the Golden Age of cinema through rose-tinted glasses, but if we take them off and look closely we can see that not all that much has changed. The casting couch is still very much alive today, some stars are still being forced to hide their sexuality and let’s not even begin to go into the sex and drugs scandals. With powerful campaigns such as #MeToo in the forefront of the entertainment industry, perhaps the day will soon come where there will be complete equality in the show business world. ♦

Around the Globe By Bee Townsend With vintage style on an increasingly upward trend, vintage, pinup and rockabilly events are popping up all over the globe. From the US to the UK and Europe, and even down under, we have a selection of events so you can find your fellow vintage lovers - even when you’re far from home! Photo courtesy of Liz @misssixtiestwist

High Rockabilly

Recommended for: Rockabilly & tiki-loving beach bunnies Set by the sea, this five day Rockabilly party has been running since 1999 and is perfect for lovers of Rockabilly and ‘50s Rock n Roll music. The line-up is choc-a-block full of bands from all over the globe and you can dance the days, and nights, away at the various stages and even in the street! There are also pool parties and sunbathing on the beach for when your gams get tired from hours of strolling and sliding, and a full-blown vintage and reproduction flea market to peruse.

SEPTEM B

ER 4–8,

TARRAG O

2019

NA, SPA IN

“I’ve been going to High Rockabilly for a couple of years TICK now and it’s my favorite rockabilly and vintage style www.hig ETS: hrockabil festival…to get to know people from all over the world, ly.es share your passion for 1950s music and dance by the beach non-stop. I’ve been to other festivals but what I really like about this event is the fact that most of its activities are by the beach, which makes it perfect to wear all your tiki and Hawaiian dresses!” – Liz, Lifestyle Journalist, Blogger & Pin Up Model

Nashville Boogie

Photo courtesy of Heather @howtobefancy

Recommended for: Mid-20th centuryAmericana Enthusiasts

20 –4,

If you want a taste of Mid-century American culture, then Nashville Boogie is a must-visit! Touting a car-show, Western-themed fashion show, vintage and reproduction shopping, a record convention, and three music stages across two venues, this is four days packed with pure vintage-Americana! And if you’re a fan of American country music, then the venue itself is quite the attraction. The Nashville Palace is famous for hosting many a country music star from Lorrie Morgan to Ricky Van Shelton and many others who made appearances after performing at the Opry House or filming on Hee Haw and Nashville Now just down the street.

“I first went to Nashville Boogie 4 years ago with no expectations but left totally smitten! Boogie is a small enough festival that it O ILLE feels like family, but you get to see some of the best rockabilly and T m : OC ASHV o S c . western swing acts. Because it's a relative newcomer to the scene it's T N KE ogie still fine-tuning the details, but I'd highly recommend it for serious music TIC illebo shv lovers (you never know who in Nashville will just pop in!) and those looking for .na w w an easy-going, friendly atmosphere.” – Heather, YouTuber & Vintage Seller w

R BE

, , TN

Recommended for: Lovers of true vintage shopping & UK History The name Festival of Vintage pretty sums it up! This weekend of vintage appreciation packs in everything including music (DJs, jazz, rockabilly, rhythm and blues bands), free dance lessons and demonstrations, as well as paid workshops, a classic vehicle display of cars, motorcycles and caravans from the ‘30s to the ‘60s, historical talks and presentations, and even a vintage salon and barber! It is also known for its vintage fashion showcase, featuring both true vintage and reproductions, and the well-known best-dressed competition. And let us not forget the fabulous vintage shopping that you might have heard about if you follow any UK based vintage Instagrammers.

Photo courtesy of Sam @death_by_deco

Festival of Vintage

A PR I L 2

5 & 26, 2

YORK, U K

www.fest

020

TICKET S: ivalofvin tage.c

o.uk

“The Festival of Vintage…is one of the first big vintage events of the calendar year, so it is a great opportunity to socialize with traders and other vintage enthusiasts, all of whom are excited for the vintage season ahead. It offers a great mix of repro and original vintage sellers and so caters for all tastes, budgets, and eras – there really is something for everyone!” – Sam, Vintage Blogger

Ballarat Herit

Recommended for: History Buff

Photography & MUA; The Vintage Kitten | Hair; Miss Ruby Lane

Photography; Tamara Pinco

| Photographed; Mia Goldsmith Halloran & Andy Reid

Herrang Dance Camp

Recommended for: Anyone who dreams of swing dancing 24/7 Herrang is a mecca for swing dancers around the globe. With five weeks of dance classes, workshops, themed parties, debates, live interviews, film screenings and much more! Many of the attendees are professional dancers and members of swing dance troupes, but the festival is open to everyone who loves swing dancing, including complete beginners. Plus, you get to stay in the small, quaint seaside village of Herrang, Sweden, and even camp in tents if that’s your thing!

T US

1, 2

UG WED 7–A G, S

020

E 2 R AN N R S: U J HE ET .com K TIC rrang ww

e w.h

“Herrang is unique because a bunch of people from all over the world who love jazz and all sorts of different dance forms, descend on a tiny village in the middle of nowhere in Sweden, and we all get to live and breathe a life filled with those things everyday. It’s a community of people wanting to learn a beautiful art form, a place of sharing experiences, and one where you get more from the camp the more you’re willing to participate and lend a hand.” – Mia, Dancer & Blogger

tage Weekend

fs, Beard Lovers & Art Appreciators This festival is a true celebration of the rich history of Ballarat and offers more than just a taste of 50s nostalgia – in fact they go as far back as the 1800s! The next event boasts a screening of an original silent film about the infamous Kelly gang set to a live music performance, a beard and moustache competition, art exhibitions of Australian female artists of the 1920s-50s, and even an historical re-enactment of Ballarat’s own attempt at a Frankenstein monster. There is truly something for lovers of all eras – including, of course, swing dancing, vintage shopping and pinup hair workshops with Miss Ruby Lane and Kitty La Vie. “Ballarat comes alive with many Victorian clad re-enactments, street performers, horse and carriage rides, and a steam train showcase set against the beautiful architectural magnificence of this beautiful and picturesque gold mining city, rich in Australian history…but my favourite part of the Ballarat Heritage Weekend is the 1940s style tweed ride where the locals and visitors alike dress in their finest vintage…. and dust off MAY 29–31 BALL their vintage bikes for a leisurely tour of the gorgeous lake Wendouree.” , 2020 ARAT , VC, – Ruby, Vintage Hairstylist & Model AUS www.b

TICK

allarat

ET S :

TR AL

herita gewee kend.c om

Gender is a construct, So style it out....

Photography and Post by: Brodie Sian Taberner Concept / Art Direction by Lori Jade Venue - Fontaines Bar, Dalston With Special Thanks to Ruby Fontaine Assistant: Verity

Holly Rose they / them My Style: In one word? Eclectic. Iâ&#x20AC;&#x2122;ve never been able to keep my head on one style, and over the last 12-ish years have collected items many alternative fashions, but always with a vintage bend. Chopping and changing between early 20th century vintage and mashing that up with the other styles, (I love Lolita, Mori, 80s vintage, and most recently Fairy Kei!) can make for interesting looks and is undoubtedly a huge amount of fun. Outfit 1: 1929 Tailcoat - Ebay Waistcoat - Frock n Roll, Reading 1940s slacks - Depop Shirt - M&S Shoes - Vintage Top Hat & Tie - borrowed from Aston Martin Outfit 2: 1920s style sailor outfit handmade by model Vintage Boater - thrifted

185

186

Aston Martin She / Her / Sir My Style: I love classic English gentlemanâ&#x20AC;&#x2122;s tailoring from the 1930s to the early 1960s. My love of vintage began in my teenage years when I spent my Saturdays trawling through the jumble sales and army surplus stores of Hertfordshire. At that time I adopted a DIY suburban punk look, which later morphed into Goth, complete with dodgy eyeliner and a melancholy outlook. As I have gotten older and more confident in my masculine identity I love to express myself in sharp suits and have an extensive tie collection. My style icon is the ever suave and gallant John Steed from the Avengers. Outfit 1: 1930s grey suit with blue pinstripe Blackout II Vintage style shirt - Thomas Farthing 1930s patterned tie - Thrifted Outfit 2: 1930s 3 piece navy suit with red and white pinstripes - Gifted by a friend (used in an episode of Poirot) 1940s tie 1930s spats Vintage shoes - Loakes

187

Outfit 1: Vintage reproduction white spear collar shirt Mark Powell Bespoke Reproduction black velvet cape - Mark Powell Bespoke Reproduction trousers - Scott Fraser Collection, empire waist trousers in classic grey mottled fleck My Style: My style is predominantly based on musical 1940s Tie- Mark Powell roots and subcultures from the 40s to 80s. Having Shoes - vintage such an eclectic taste allows me to have an open mind with fashion and wear whatever I feel comfortable and Outfit 2: confident in. My wardrobe is a varied mix of bespoke, Vintage style pinstripe waistcoat dress - Thrifted vintage and high street. I can feel confident and elegant Vintage reproduction white spear collar shirt in 50s lingerie but also empowered in a suit and tie. â&#x2122;Ś Mark Powell 1940s Tie - Mark Powell

Baby jane She / Her

188

189

Lori Jade she / her

Outfit: 1930s style gold slash sleeve gown - House of Foxy

190

IDENTITY & THE

SPIRIT OF TOKYO by Sanna Fjällborg

Tokyo is known for its pulsating energy, delicious foods and karaoke bars, but also for its underground music scene and well-dressed residents. In the midst of the Tokyo summer, I interviewed four Japanese women from the vintage scene that are known for their impeccable style. Here are their thoughts on their personal style, identity and the spirit of rock ’n’ roll.

KEIKO MOTOYAMA SINGER & SONGWRITER OF SUN VOLCANOS I grew up in a household where we watched a lot of Western movies and listened to Western music, so from a young age the Western aesthetic was something that I was naturally drawn to. The use of colours, the way they decorated their homes, the landscapes. Everything looked so cinematic compared to Kumamoto, where I was raised. I was about 20 when I first encountered the rockabilly scene, and it was the first time that I felt everything fall into place. In the rockabilly scene in Japan, there aren’t a lot of bands featuring female vocalists, and even fewer women who play instruments. I always wanted to be in a band, but not only as a singer. I wanted to be able to play the guitar and write my own songs. I think I always had a sense of wanting to show the men around me that women could get up on stage and perform just as well as any man out there, and since there weren’t a lot of female frontwomen out there, I figured that I would have to be that person. I had to be my own muse in a way. If there were more women in the music scene, I might have been happy with just going to events and enjoying watching other bands play. When I started out, I dressed more for the stage, but in the end it felt more like dressing up than being a natural progression of me, which is when I started to look around for vintage clothes that I could wear daily. Something that would feel like an extension of me. Even though I like being on stage, I prefer my clothes to blend in more with the people around me. For me, it is not about standing out with my clothes – I would rather stand out with my music. 191

At work, I do not have a uniform per se, but there are restrictions to what I can wear. Even so, there are all these small ways of showing who you are by how you wear it, what kind of shoes you pair it with or what kind of accessories you use. Maybe that is the Japanese part of me, not wanting to stand out per se, but to blend in and show my style in a more discreet way. Not everyone has to get it, because ultimately I am dressing for myself.

SAIMI SHIRASU For me, it has always been more about the clothes than about the music. I have always been very visual, regardless of what style I have had. I first started collecting vintage after my boyfriend started to work for Attractions, a reproduction brand in Harajuku. Because of him working there, we were introduced to everyone in the scene, and I especially remember one night in Shimokitazawa where I saw Yuki from the the Pringles Pringleswearing wearingaared redChimayo Chimayojacket jacket for for the the first firsttime. time.There Therewas wassomething something about about how she wore it and the vivid colours that really appealed to me. I started researching Chimayo jackets, which then led led me me to to denim denimwear wear and and leather leatherwear wear and everything just escalated from there. I have always been an outdoorsy person, so I think my clothing of of choice choiceisisgrounded groundedininsomething somethingthat thatI Ican can be be active active in. Even in. Even though though I prefer I prefer wearing wearing workwear and more workwear and more “mannish” “mannish” clothes, clothes, I always I always looklook for something for something feminine feminine to incorporate to incorporate intointo every every outfit. outfit. It could It could be anything be anything from from a scarf a scarf on my on head my head to ato pair a pair of high of high heels. heels. JustJust a little a little something something to make to make thethe outfit outfit feelfeel more more likelike me.me. I al-I ways base always base my my style style onon how how I feel. I feel. I would I would never never be able be able to pick to pick something something out for outthe for next the next day – for–me day foritme is it allisabout all about howhow I feelI when feel when I wake I wake up. It up. is It very is very instinct-based. instinct-based. 184 192

Because Because II work work in serin customer customer vice, there isn’t a service, there lot of room for exisn’t a lot of room pressing myself, for expressing which is why it myself, which is imis even why itmore is even portant for me to more important do so through for me to my do clothes [in my leiso through my sure time]. clothes [inWhile my my goal isn’t necleisure time]. essarily to stand While my goal out, I do want isn’t necessarily people to out, knowI to stand it is me when I’m do want people walking to knowdown it is the me streets of Tokyo, when I’m walking even they can’t downifthe streets see my face. of Tokyo, even if they can’t see my face.

YUKI KOMATSU

& MEI SHIMIZU

FRONTWOMEN OF (AND THE BRAINS BEHIND) THE PRINGLES Yuki: For me, clothes and music have always gone hand-in-hand. It has always been interesting to see the connection between the two and the way what you wear can reinforce the message you want to make with your music. My first encounter with the rockabilly scene was through aa friend, friend,and andititwas was the the first first time time I had I had experienced a asubculture experienced subculturethat that covered covered everything from music musictotoclothes clothes and and interior interior design. design. Seeing Seeing the the women women in the inrockabilly the rockabilly scene, scene, dressed dressed up with up such with such confidence confidence and dancing and dancing like there likewas there no was tomorrow, no tomorrow, had a big had impact a big onimpact me. There on me. was There something was someabout thing the spirit about of the it allspirit that of really it alldrew that really me in.drew me in. I have always been interested in fashion, and it was an eye eye opener openerfor forme metotosee see how how much much of the of the modern modern clothes clothes we wear we wear are inspired are inspired by clothes by clothes fromfrom the the past. past. I think I think that that waswas what what drew drew meme inin even evenmore more– –the theconnection connectionbetween between the the past past and today. Mei: I’ve always always seen seen myself myself as as more moreofofa atomboy, tomboy,and andI think I thinkthat that might might be be a reason a reason why why I mainly I mainly dress dress up up in in boyish boyish clothes. clothes. That Thatand andthe thefact factthat that itit fits fits me me size-wise. 185 193

For me, the most important thing is to be able to be active in what I wear. I don’t think I would enjoy a night out if I had to be aware of what I was wearing. I also don’t think that being a woman necessarily means dressing feminine. I think there is an art to spotting those really special pieces that don’t scream typical feminine 1950s. The kind of pieces that I look for might not raise any eyebrows from people walking past me on the street, which is fine because for me it’s not about that. Yuki: As for the band, I grew up in a household that took part in Japanese festivals, so being around music has always been a big part of my life. For me, the music that the Pringles play and what we wear is very much the same statement. I like mixing my clothes with both vintage and modern pieces, as well as different eras within those vintage pieces. I like wearing vintage in a way that makes people mistake it for modern clothes. I think my identity lies very much in being an open-minded person. That’s why I like mixing clothes and why our sound is what it is.

Our music is very much about picking out things that we both like, mixing them together and putting our spin on it. It’s not about being the most authentic rockabilly band out there, it’s about keeping the spirit of ‘50s rock ’n’ roll while still keeping it fresh and interesting. Anyone can be a covers band, but to have your own style and do your own interpretation of it is a lot harder and it shows very much what kind of band you are. Mei: I would say that the Pringles are a mix of the Tokyo underground music scene, all compressed into one band. It’s not about being the most authentic band out there, it’s about channelling the energy of the music and that’s what we want the people coming to our shows to feel: the spirit of Tokyo. Even though we cover American songs, we do it with the same respect that we have for our own culture. Being Japanese is a part of our identity, but one part doesn’t have to exclude another. Yuki: Someone once described the Pringles as being colourful. I think that is our identity as a band as well as people. That’s how we want to be seen – as colourful. 194

What I gathered from my interviews and interaction with people in the rockabilly scene is that the way someone dresses is just as important as the way they sound, but not in the way that you would think. Here, people are taught from a young age not to stick out and to blend in with everyone else. While I previously believed that wearing vintage always makes you stick out, I found that the Japanese crowd is very good at wearing vintage in a more subtle way. It’s not about standing out – it’s about the small details within the garments. The kind of details that only die-hard fans and collectors would notice. Don’t get me wrong – this has nothing to do with bragging. It’s about the subtle ways of letting people know that you’re different, without being in-their-face about it. But more than anything, the Tokyo rockabilly scene is about that raw rock ’n’ roll spirit.♦

195

UP, UP & AWAY The TWA Hotel by Gabriela Schunn

188

Photographer | Ming chen Photography

onsidered a marvel of neofuturistic architecture and a national landmark, the TWA Flight Center was a sight to behold when it finally opened in May of 1962. The building was the brainchild of internationally acclaimed FinnishAmerican architect and industrial designer Eero Saarinen, who designed the St. Louis Gateway Arch, the Washington Dulles Airport, and the famous Tulip chair, a staple of classic spaceage era industrial design. It was commissioned by the Trans World Airlines (TWA) in 1955 to be built as a separate terminal at the John F. Kennedy International Airport (JFK), which at the time was still known as Idlewild Airport. The airport was looking to court TWA as they were one of the four big airlines at the time, known particularly as a luxury airline in a time when air travel was already considered a luxury in and of itself, so the expansion seemed eminently profitable. Renowned architect Robert A. M. Stern once referred to the terminal as the “Grand Central of the Jet Age”, as for decades following, passengers traveling out of JFK would lounge in the luxurious headhouse. Unfortunately, after filing for bankruptcy twice in the mid-1990s, TWA sold its assets to American Airlines and officially closed the terminal in October of 2001, unable to sustain maintenance of the structure. The building had a brief life as host to an art exhibition in 2005, but was shut down again after an incident occurred at the opening gala in which several guests vandalized the building. After this, the Flight Center was nominated as one of the “11 Most Endangered Places in America” (with regards to historic architecture) and was shortly thereafter listed by the National Parks Service in the National Register of Historic Places. However, when the JetBlue Terminal was opened on the backside of the old Flight Center in 2008 to reutilize the lost space, the idea of restoring Saarinen’s building to its former glory came back onto the table. In the summer of 2015, it was announced that the TWA Flight Center would be turned into a hotel for airport guests and would be the first on-site hotel at the Queens Borough airport, paying tribute to the era in which it was originally built. In its heyday, the airline was known for being the first choice of celebrities, servicing the likes of British

band the Beatles, but sometimes found that it could not reach the average consumer particularly well because of its many indulgent impracticalities. The hotel has attempted to combat aspects of that legacy by working with hotel development company MCR Development to bring all hotel guests an accessible and welcoming experience. If you compare photos of the original terminal to photos of the structure at present, it is clear that they are nearly indistinguishable. The hotel has kept all of the iconic features of Saarinen’s original structure, including the stark white wingshaped thin-shell roof, the tube-shaped entrance hallways, the massive wall of glass windows facing the runways, the bright red carpeting, the spiral staircases and thin arched bridge, and, of course, the iconic departures board, which still functions albeit purely for novelty purposes now. Saarinen himself once said of the space that he “wanted the architecture to reveal the terminal not as a static, enclosed place, but as a place of movement and transition”; 197

this is reflected in the intricate winding multifloored pathways on either side of the entrance. An elegant cocktail lounge and restaurant, the Paris Café and Lisbon Lounge, are tucked away on the second floor of the lobby, which also services the Sunken Lounge on the lower level in front of the departures board, a feature original to the old terminal. While Saarinen’s building itself contains the hotel lobby, shops, museum, restaurants, and amenities, his original unusual tube-like departure corridors grant hotel guests access to the 512 rooms that are split across two attached buildings: the Saarinen Wing and the Hughes Wing, named after the architect and the famous business magnate who once controlled much of the airline’s assets between them (you can never have too many airline puns, it would seem…). All of the wooden craftsmanship work featured in each hotel room was completed by Amish family-run contractors, a testament to the hotel’s dedication to ethical locallysourced production. The hotel also features a glass-walled pool with an exclusive bar, and, apparently, the world’s largest hotel gym. It’s a space that, while clearly marked, is easy to get lost in. Perhaps one of the most striking features of the TWA Hotel, however, isn’t even in the building itself. It’s a gal named Connie, known more formally as the Lockheed Constellation L-1649 Starliner airplane, which was transformed from a mere aircraft vehicle into a stunning cocktail bar. This particularly contributes to the feeling of reliving TWA’s history, as many of the original features within the airplane have been kept, such as the signature seats and Mario Zamparelli's iconic murals on the inside walls of the plane. I can also attest that the cocktails are delish, as I myself ordered their classic margarita, which also came with an adorable Connie coaster, novelty TWA drink stirrer, and a TWA postcard. The incredibly precise attention to detail is rivaled only by, dare I say it, the original concepts of the Walt Disney theme parks. If your breath isn’t taken away simply by those features, you will certainly enjoy the TWA Hotel’s museum component. Skillfully crafted with assistance from the New York Historical Society (the city’s longest operating museum), the exhibits scattered across the whole of Saarinen’s winged building 198

particularly highlight the history of the airline’s liveries over the years. Free and open daily to the public, it showcases uniforms designed by a host of recognizable designers: Howard Greer between 1944 and 1955, Oleg Cassini between 1955 and 1960, Don Loper between 1960 and 1965, Pierre Balmain between 1965 and 1968, Dalton of America between 1968 and 1971, Valentino between 1971 and 1975, Stan Herman between 1975 and 1978, and lastly, Ralph Lauren between 1978 and 2001. MCR has acquired over 2,000 artifacts of TWA history, including uniforms and paraphernalia, largely from former TWA staff and their families, to create these exhibits, and hopefully to continue them into the future. Some of the current wall texts feature fun anecdotes, such as the fact that TWA hostesses in 1944 were required to wear victory rolls à la Veronica Lake because of the popularity of the film The Hour Before Dawn, the fact that TWA hostesses were the first to show an in-flight movie in 1961, and that 1970s designer Stan Herman, who will be turning 90 years old in 2020, designed the uniforms worn by current hotel staff, drawing upon all of the designs of his predecessors.

199

In its few short months of tenure, the hotel has already been host to countless mid-century-inspired photoshoots by amateurs and professionals alike, a wedding, several engagements, a Michael Kors pop-up, and the Louis Vuitton Resort 2020 runway fashion show. Perhaps of most interest to a vintage enthusiast, it was featured rather stealthily in the social media promos for the upcoming third season of the Amazon Prime series The Marvelous Mrs. Maisel. Whether the space itself will feature more prominently in the series, we genuinely cannot say, but we will be keeping our eyes peeledâ&#x20AC;Ś While not every single element of the hotel is exactly period-perfect, as that is not necessarily its intent, it is on its own a living landmark to the history of travel. The entirety of the endeavor is a testament to the power of nostalgia, and that vintage is back with a fever! Pack your bags, folks! This place is taking off. â&#x2122;Ś 200

TWA HOTEL One Idlewild Drive JFK International Airport New York, NY 11430-1962 www.TWAHotel.com +1 (212) 806 9000 @twhotel @conniebartwa

201

Vintage Makeup Tips:

Wearable Day-Look to Night-Look by Bethany Davies

We invited vintage stylist and author Bethany Jane Davies, of Fatale Cosmetics and The Vintage Beauty Parlour, to share some pro-tips for vintage makeup styling. Bethany brought together the team, model Madame Von Shamrock and photographer Terry McNamara, in her home studio for this exclusive photo tutorial. All hair, makeup, and styling by Bethany. In the following photo-tutorial, weâ&#x20AC;&#x2122;ll go step-by-step to show you how to create a simple and versatile vintage makeup day-look, and how to transform it into a sophisticated 50s-inspired evening style.

Day-Look

STEP 1: Prep the entire face with a STEP 2: Apply concealer; focus under STEP 3: Set with powder all over the primer, pick a suitable formula for your skin type (oily/dry/comb. etc). Using a sponge, brush or fingertips blend foundation all over the face, including eyelids, blend beyond the jawline.

202

the eyes, sides of the nose, edges of the lips and any blemishes. Tap the product on to the skin with fingertips or buff with a small fluffy brush.

face. Firmly press the powder brush against the face, avoid scrubbing with your brush and unsettling the base you have just applied.

STEP 4: Add an eyeshadow a couple STEP 5: Gently lift the upper lid and STEP

6: Curl lashes and add shades lighter than your skintone, to apply a black liner directly to your mascara, wiggling the wand from rootyour upper lid, inner corner of the eye waterline using short strokes to work to-tip to fill and lengthen the lashes. and browbone. the pencil in to your lashline. This technique is called â&#x20AC;&#x153;tighliningâ&#x20AC;? and gives the illusion of fuller lashes and defines the eyes.

STEP 7: Brush the brows into shape. STEP 8: Fill in any gaps with a fine STEP 9: Line the lips with a lip pencil. pencil using soft strokes to mimic the hair growth and focus on creating definition to the arch.

STEP 10: Apply a thin layer of lipstick

with a brush. Push the lips together and then blot with a tissue. Repeat with another thin layer of lipstick. Blot again for a matte look or, leave unblotted for a hint of shine.

203

Night-Look

STEP 11: Blend a darker shade of STEP 12: Focus the intensity of the STEP 13: Blend the same eyeshadow eyeshadow such as grey or brown in to the crease of the eye and along the upper lashline, this creates depth and definition.

eyeshadow on the outer corner and along the lower lashline, focusing the softly blend along the crease inwards intensity on the outer corner. to the middle of the eye, where it gets lighter, with a fluffy blending brush.

STEP 14: Add winged liner. First line STEP 15: Next use a dot of liner to STEP 16: Draw the bottom line of the upper lashline with a thin line, mark the angle of the flick on each the wing first, then fill-out the area at staying close to the lashes. side, a good guide is to follow the the outer corner of the eye. natural angle of the lower lashes.

STEP 17:

To sharpen, sweep up STEP 18: Add lashes, preferably in STEP 19: For an evening-feel we along the edge of the flick with a a winged shape to accentuate the liner applied a sultry, crimson red lipstick, cotton bud with a dab of concealer or and lift and define the eyes. prep the lips by lining with pencil. foundation.

204

STEP 20: Apply a thin layer of lipstick STEP 21: Push the lips together STEP 22: Finish with a pop of with a brush.

and then blot with a tissue. Repeat with another thin layer of lipstick. Blot again for a matte look or wear with a vampy sheen.

blusher. Focus the colour on the apples of the cheeks and softly sweep up the cheekbones. Set with more powder if necessary and a spritz of setting spray.

Pro Tips • If your eyeshadow or blusher becomes patchy; use a clean fluffy brush to blend • Fix any make up mistakes with a cotton bud or brush dipped in concealer. Avoid using makeup remover which can create patches that are hard to blend over. • Create your winged liner, with your eye open looking down in to a mirror. • Make sure you let the glue on your lashes get tacky before applying, otherwise you will end up with a gluey mess. • Even glue that dries clear can leave a tell tale shine so make sure you go over the lash edge with liner to finish.♦

PHOTOGRAPHER | Terry McNamara MODEL | Madame Von Shamrock

Day

Night PRODUCT LIST • Heritage Collection Lip Liner Pencil "True Red" & "Rouge" • Charlotte Tilbury Magic Foundation • Too Faced Born This Way Naturally Radiant Concealer • Illamasqua Loose Powder • Too Faced Eyeshadow "White Peach" & "Charmed I am Sure" from Sweet Peach Eyeshadow Palette • Illamasqua Mascara in "Raven" • Nyx Micro Brow Pencil • Inglot Gel Eyeliner • Ardell 811 Lashes • Charlotte Tilbury Blusher in "Pillow Talk" • Morphe Gilded Brush Set 206

g More is Moreg jewels on the silver screen by Lara van Schaik

When you Google the most iconic movie jewellery, you find pretty much the same list everywhere. Maybe the reporters and bloggers are copycats; maybe the list really represents the top seven of the most iconic pieces ever worn for a movie. The top three are typically considered: Gone with the Wind (1939) for Vivien Leigh’s giant cameo brooch; Gentlemen Prefer Blondes (1953) for Marilyn Monroe’s diamond necklace and bracelets; and Breakfast at Tiffany’s (1961) for Audrey Hepburn’s diamond and pearl necklace and tiara. The other movies on the list are more recent, including Pretty Woman, Titanic, The Other Boleyn Girl and Lord of the Rings. In this clip of Gone with the Wind, you can see how Vivien Leigh wears the cameo brooch. However, maybe this is also an Anglophone-inspired list, because if you look a little further, you will find a French movie about a set of heart-shaped earrings bearing the title The Earrings of Madame De (1953). Although the film received mixed reviews when first released, its reputation has grown over the years. It was revived in the UK in 1979, where it was rediscovered as a masterpiece.

This film drama, directed by Max Ophüls and starring Danielle Darrieux and Charles Boyer, is a complex love story unfolding around a pair of earrings with huge heart-shaped diamonds that are sold several times to the house jeweler of the couple and in the end bought back by the husband. They are sold by the wife in secret, bought back by the husband and offered to his mistress, sold again by the mistress to pay off her debts, and end up in the hands of the lover of the wife. It is not known whether the pair of earrings was owned by Danielle Darrieux herself. However, with the other iconic movie pieces, it is known that the Gone with the Wind cameo brooch was lent by a family member of the director, and of course Audrey Hepburn wore jewellery from Tiffany. In Gentlemen Prefer Blondes, the pendant worn by Monroe may have been one of the oldest pieces of jewellery used in movies, as it was over 500 years old at the time. Originally owned by the Maharajah of Baroda, India, it was later worn by Empress Maria Theresa of Austria and, at one time, by Marie Antoinette. In 1943, it was bought by Meyer Rosenbaum of Detroit, and he let Monroe borrow it for the movie. 207

Actresses who did wear their own jewellery on stage included Marlene Dietrich, Paulette Goddard, and Joan Crawford. Dietrich was known for her exceptional collection of emeralds. It was said that her emerald cabochons were the size of plover’s eggs and were part of her carefully constructed persona. In Desire (1936) she wore her own Trabert & Hoeffer Mauboussin (THM) bracelet; in the movie, she played a French jewel thief. In Alfred Hitchcock’s Stage Fright (1950), meanwhile, she played an older actress and wore her own ruby and diamond so-called jarretière bracelet. In the trailer of the movie, you can see how she puts on this bracelet, made by Van Cleef & Arpels. Although this type of bracelet (in a modest setting) became popular for the first time in Victorian times, the design was revived by Van Cleef & Arpels in the late 1930s. In this trailer for Stage Fright (1950), you can see Marlene Dietrich and her bracelet(s). Paulette Goddard was another glamorous star famous for her remarkable jewellery collection. She once said that she never purchased a single piece of jewellery for herself. She owned one particular set from Trabert & Hoeffer-Mauboussin (THM) that she used on film sets, but also in publicity stunts and for marketing purposes. The set was given to her by her husband Charlie Chaplin, supposedly as a consolation for not getting the lead role in Gone with the Wind, which went to Vivian Leigh. It was a demi-parure consisting of a cuff and

208

earring clips made of cabochon-cut emeralds and diamonds set in a cluster of sculptural flowers. She also wore the clips as a brooch on a blouse. The actress prided herself on always wearing at least one piece of her own jewellery in her films. In The Women (1939), a film with an all-female cast that focuses on gossip about (extra)marital relationships, Paulette Goddard shows off her demi-parure. Joan Crawford and Norma Shearer also wore their own jewellery on the set. Joan Crawford wore a not-to-bemissed demi-parure from Raymond C. Yard, a large cuff bracelet with a citrine and matching cocktail ring. In this clip of The Women, you can see Joan Crawford wearing the cuff and ring. The abovementioned, Trabert & HoefferMauboussin, played a leading role in lending jewellery for Hollywood movies and selling it to an elite clientèle. The company had merged with the Parisian house of Mauboussin; for the Americans, this was a fruitful collaboration, as they were able to utilize the excellent reputation of the House of Mauboussin, and for the French it was a way to survive the war in Europe and establish a name for themselves in the US. William Howard Hoeffer understood like no other the power of marketing, and he set off with a suitcase full of fine jewellery worth a million dollars to gain entry into Hollywood. The concept of lending jewellery is still used in today’s movie

industry. Chic (mostly French) jewellery houses adorn Hollywood actresses with their latest creations in order to show them off on the red carpet. Last but not least was the all-time favorite of the silver screen, Elizabeth Taylor, who was undoubtedly the biggest movie and jewellery star between the 1940s and 1970s. Although she was not known for wearing her jewellery on the silver screen, she was famous for her private jewellery collection. Her most wellknown part was the title role in Cleopatra (1963). This was one of the biggest and most expensive productions of that time. Not surprisingly, Taylor’s motto was “more is more”, and that was true for every aspect of her of life. The public loved her wild and crazy life, full of luxury and extravaganza; she was married seven times to six different husbands. However, her life was also full of misery – she lost one of her husbands in a plane crash and had to battle various illnesses. In the media, nevertheless, she was always graceful. When you look at her interviews, news coverage, and portrait photos, she always wore the most beautiful jewellery, even with a bikini. In one of her interviews she said, “never retail”, meaning she bought (and received) exclusive jewellery only. In this interview, you can see some of her jewellery displayed on a table. Later in life, when her film career was in decline,

she became an entrepreneur and ambassador for her own perfume brand, and was active in the HIV and AIDS movement. She co-founded the American Foundation for AIDS Research and founded the Elizabeth Taylor AIDS Foundation. For her work as a philanthropist, she received the Presidential Citizen Medal. She also published a book about her jewellery collection under the title My Love Affair with Jewellery (2002), in which you can see pictures of her priceless antiques and modern pieces. You can also find most of her jewellery collection on the website of the auction house that sold her collection after her death in 2011. Of course, the profits ($21,303,575 USD) went towards research into AIDS. The highlights of the auction were: • La Peregrina, a natural pearl, diamond, ruby and cultured pearl necklace, by Cartier | Price realized: $11,842,500 • The Taj Mahal diamond | Price realized: $8,818,500 • A 23.46ct emerald and diamond pendant brooch by BVLGARI | Price realized: $6,578,500 ($280,000 per carat) • The Elizabeth Taylor diamond, a 33.19ct rectangular-cut diamond, D color, potentially flawless | Price realized: $8,818,500 ($265,697 per carat) ♦ Elizabeth Taylor Salesroom 209

VEGAN HALLOWEEN RECIPES By Olive Oyl Well, itâ&#x20AC;&#x2122;s my favourite time of year! Yes, that is correct â&#x20AC;&#x201C; Halloween is like my Christmas. I get super excited and start looking around the shops for Halloween goodies from the beginning of August. Some people might say I have an obsession! I have put a few recipes together of the food I will be making at Halloween and sharing with my ghoul friends. Enjoy the food, and if you make any of the recipes, please #tag me #oliveoyl666.

SPOOKY SMOKED CHILI INGREDIENTS

METHOD

1 red pepper (chopped) 1 red onion (diced) 3 garlic cloves (crushed) 1 teaspoon chili powder 1 tablespoon smoked paprika 1 can chopped tomatoes 3 tablespoons tomato paste 1 1/2 cups vegetable stock 1 cup red lentils 1 can mixed beans 1 can green lentils 1 small can corn Salt and pepper to taste 2 squares dark chocolate

Fry onion, red pepper and garlic in a pan until soft. Mix in everything except the dark chocolate. Cook with a lid on the pan for 40 minutes on top of the stove. Mix in the chocolate and cook for another 15 minutes. When the red lentils are cooked and the sauce is thick, itâ&#x20AC;&#x2122;s ready to eat.

Enjoy with cornbread!

212

CHILDREN OF THE CORNâ&#x20AC;ŚBREAD INGREDIENTS 1 cup cornmeal or polenta 1 cup plain flour 1 teaspoon baking powder 1 teaspoon baking soda 1 teaspoon salt 1 cup almond milk 1 tablespoon apple cider vinegar 1 flax egg (1 tablespoon flax meal mixed with 3 tablespoons warm water) 1/2 cup vegan butter 2 tablespoons maple syrup 1 small can corn

METHOD Preheat the oven to 200Â°c. Grease a muffin tray. Mix together the cornmeal, flour, baking powder and soda. Add the vinegar to the milk and set aside for 10 minutes. Prepare the flax egg. Melt the butter and add the maple syrup. Mix all the wet ingredients together. Add the wet and dry ingredients together and mix well, adding the corn at this point. Pour the mixture into your greased muffin tray and bake for 25 minutes. Leave the cornbread to cool on a rack. Enjoy with the chili. 213

COBWEBBED PUMPKIN PIE FOR THE PASTRY CRUST: INGREDIENTS 1 cup flour 1 tablespoon sugar 1/2 teaspoon salt 1/2 teaspoon baking powder 1/3 cup vegan butter 1/4 cup cold water 2 teaspoon apple cider vinegar

METHOD Mix the flour with the butter using your hands until it forms crumbs. Add all the other dry ingredients. Mix the water and vinegar together, then add them to the mixture. Mix well until it forms a dough. Leave in the fridge for 30 minutes while you prep the pie filling.

FOR THE PIE FILLING: INGREDIENTS 1 can pumpkin purÃ©e 1/2 can coconut milk 1/4 cup maple syrup 1/4 cup brown sugar 1/3 cup almond milk 4 tablespoons corn flour 4 teaspoons mixed spice 1 teaspoon nutmeg 2 teaspoons cinnamon

214

METHOD Preheat the oven to 170Â°c. Blend all the ingredients together in a blender. Roll out the pastry from the fridge and put it into your pie tin, then prick a few holes in the pastry. Pour the pie filling into the crust and bake for 55 minutes. Leave to cool. For the webbing on the top of the pie, mix some icing sugar and soy cream until it becomes thick and pipe it onto the top. This tastes great as it is, or you can serve it with ice cream or cream. â&#x2122;Ś

Enjoy cooking!

OLIVE OYL

215

THE MERRY WIDOW: A CREEPY COCKTAIL THAT LOOKS THE PART WITHOUT THE FRIGHTFUL EFFECT by Jennifer Richmond

e have officially hit fall. Kids are back in school, there’s a cool breeze blowin’ and the leaves have started to turn. With those cool breezes come creepy clowns, ghoulish ghosts and eerie echoes. Shelves full of school supplies have been replaced with bags of candy, makeup and plenty of creepy costumes. Yes, Halloween is coming. If you think it’s crazy to be talking about Halloween, it’s actually not that strange. As I said, the stores are already setting up their spooky, Halloween-themed displays, and there are Halloween pop-up stores on every corner. Sure, Halloween can be full of spine-chilling movies and horror themed amusement parks, but it can also be tons of fun. I love thinking about what the kids are going to dress up as and which vintage outfit I’ll pull together. But costumes and candy aren’t the only thing you need to start thinking about. If you’re planning on hosting a Halloween party, it’s time to start plucking recipes from your favorite cookbooks and of course making sure you have the perfect cocktail. This is the time of year I put away the gin and vodka and start mixing up drinks that are full of brandy, bourbon and whiskey. That’s not to say you can’t keep drinking gin or vodka, but when the temperatures drop, I like to move on to the darker liquors. Drinks that warm you up while making you feel light and happy, which is exactly how you want to feel when all those little ghosts and goblins come a knockin’. But you don’t have to limit your drinking to All Hallows’ Eve, there are plenty of other opportunities to enjoy a cocktail before the big event. I don’t know what it’s like elsewhere, but here in sunny Southern California, Halloween parties are no longer

limited to the weekend before Halloween. It seems the partying starts earlier every year. So, to prepare you, I thought I’d share a drink that you can easily add to your party’s cocktail menu or enjoy on a quiet night at home: the Merry Widow. It seemed like the perfect cocktail for Halloween, since a widow is a woman whose husband has died, and we’re about to celebrate a holiday all about death. And since there just aren’t that many classic cocktails (the Zombie and Satan’s Whiskers) that work for Halloween, I wanted to make sure the Merry Widow was on your list. I bet you’re hoping for a creepy story to go along with how this cocktail got its name. Unfortunately, there isn’t one. Turns out this drink wasn’t named after a woman who killed her husband or had a penchant for cruel and evil activities. There actually isn’t anything scary about her at all. Instead the cocktail, similar to several drinks that predate Prohibition, was named after a very popular opera that opened in 1905. The opera is about a wealthy young widow from a small, poverty-stricken Balkan province named Hanna Glawari. The ambassador, Baron Zeta, wants Hanna to marry a Pontevedrian and not a Frenchman, so she’ll be able to keep all her money and save their tiny town from ruin. The obvious choice is Count Danilo, but they’re exes, and he’s too proud to marry her for her money. Further misunderstandings and comic intrigue take place that make the opera fun and funny, rather than haunting and creepy. But just because the tale behind the cocktail lacks any sense of foreboding, doesn’t mean the drink doesn’t look the part. Both cocktails, that’s right I said

both, have a reddish hue thanks to the Benedictine or Dubonnet, depending on which version you’re making. See, unlike a lot of classics that have stood the test of time, this drink has several versions: one uses Dubonnet, a red wine, another uses gin, and I’ve even seen a recipe that calls for cherry brandy and Maraschino liqueur which sounds way too sweet but might be perfect during cherry season. Out of all the options I’ve tried, there are really only two worth imbibing: the Dubonnet or the gin, and neither will disappoint. As with most cocktails, it’s really about you’re mood. If it’s a serious party, go with the gin and Benedictine as it’s a stronger cocktail full of herbal zing that’s perfect for this cooler season. But if it’s a sinister dinner party, the blood red Dubonnet seems more appropriate, as it’s got a lower ABV and has a subtler flavor. But if you still can’t choose, serve both. That way you can taste the two classics and decide for yourself which is the lesser of two evils.

Merry Widow #1 Ingredients: • 1-1/2 oz. gin • 1-1/2 oz. French vermouth • 2 dashes Absinthe • 2 dashes Benedictine • 2 dashes Angostura bitters Directions: 1. Pour all the ingredients into a mixing glass. Add ice and stir until chilled. Strain into a cocktail glass, garnish with a twist of lemon and serve.

Merry Widow #2

Ingredients: • 2 oz. Dubonnet • 2 oz. French vermouth Directions: 1. Combine liquor in a small wine glass and serve.

Virgin Merry Widow

Ingredients: • 8 oz. ginger ale • ½ ounce grenadine Directions: 1. Pour the ginger ale into a highball glass filled with ice. Add the grenadine, stir until combined and serve. ♦

Pasties by T

Miss Fortune Jumpers

Perfect for any occasion and season in our eyes... plus, who can refuse a spiderweb or two? Bobbie Web Jumper & Daphne Jumper; Up to £40 | Sizes XS – XXL

There’s som part of your made-to-fit B from The Pla

Shop Now

Adele Mildred Poison Mugs Adele Mildred mugs should be your mug of choice. Especially if you have a motherin-law you want to send some subliminal vibes. | £40 per pair

Shop Now

Stay Sexy & Don't Get Murdered

Shop Now

let's get

Glam Goth Beauty 7 D

Are you an avid listener? Are you a Murderino? If so, you’re welcome - here is a book by two badass women who talk about ALL things MURDER with a dark sense of humour mixed in non-podcast form. | $11.10 USD

In the moo introduce y cruelty-free Sins we’d l Look at the palette. | $4 Shop Now

Shop Now

Sunshine by Hester Halloween Berets

5 218

Is your favourite show Project Runway? Well, this fashion designer has a cult style following and was a runner-up on Project Runway 2019. We couldn’t not put these berets in the style pages - Sunshine by Hester Halloween Berets. We are very much in tune with the ‘every day is Halloween’ mantra. | $55 USD Shop Now

F y k p l 1 p £

The Playful Pear

mething Gothic for EVERY body! Try some bespoke, Bat or Black Widow pasties ayful Pear. | From £38

Witch Hoops

Spider Tights

When you want to make a bit of a statement but you don’t want to break the bank, we highly recommend putting on these Witch Hoops, because nostalgia is EVERYTHING and being bold is the way forward. | £20

Because spiders are every girls friend or enemy... We thought it’s best not to be so serious all the time, so put a bit of humour into your outfit with these spider attack tights. | £7 Shop Now

gothed

Deadly Sins

od for sinning? Well, let us you to Glam Goth - this e brand has the best 7 Deadly like to be acquainted with. e colours on this eyeshadow 40 USD

Spiderweb Bra Are you looking for an investment? One that is suitably up your Goth ally? Well we have you covered this made to measure Spiderweb Bra can be in your collection. Plus, it will be custom made to YOUR measurements so do not worry about it not fitting right. | From £315 To order email Marie or DM on Instagram

9 Photographer | Mitzi & Co

Pearl & Smine Sunglasses

Poodle Skirt

Feeling in a dark mood yet love anything a bit kitch? Then this is the perfect skirt you curvy ladies. A true vintage 1950s pencil skirt with poodle embroidery. £130 | Waist 38” Shop Now

Shop Now

You hear the word ‘Diablo’ and you think “the devil”... well these glittertastic yet lavishly dark sunglasses are bound to be the best in your collection. Especially if you want to avoid eye contact, yet still look suitably dramatic. | “Diablo” Black Glitter Devil Horn Sunglasses; £30 Shop Now

219

The best vintage sellers right at your finge

Cock A Doodle Vintage WHY YOU WANT NEED TO SHOP HERE: Our goal is to bring quality original heritage clothing & accessories from the 1940s / 1950s to our customers. SourcingÂ pieces from around the world weÂ hand-pick each item of stock to earn its place in our collection. Find us at specialist events around the UK or via our online ETSY store. SOCIAL: @CockADoodleVintage WEBSITE: cockadoodlevintage.co.uk

Frocks and Frills Vintage WHY YOU WANT NEED TO SHOP HERE: We have an online presence as well as a brick-andmortar store stocked floor-to-ceiling with cleaned, repaired vintage from Victorian to 1980s. We carry clothing, jewelry, and accessories for both men and women, and even have plus-size vintage. We can literally dress you from head to toe! SOCIAL: @FrocksandFrillsVintage WEBSITE: frocksandfrillsvintage.com

Pret A Vintage WHY YOU WANT NEED TO SHOP HERE: Owner Nicola has been sourcing great vintage since 2009 and has a great eye for quality vintage from all era's. She sells on Etsy, from her studio in Farnham in the South of England and is a regular at London's top vintage fairs - Frock Me in Chelsea and Hammersmith Vintage Fashion Fair. SOCIAL: @PretAVintage WEBSITE: preat-a-vintage.co.uk

220

1940s style for

you

CREDITS

ertips!

Anna Pearl’s Curiosities

Executive Editor & Publisher Jade Stavri-Ratcliffe Assistant Editor Christine Cochrum Creative Director Leanna Lasso

WHY YOU WANT NEED TO SHOP HERE: Anna Pearl’s Curiosities is a quaint vintage boutique located in the heart of Niantic’s lovely Main Street. We feature an extensive collection of vintage and antique jewelry, clothing, and collectibles. Come down for a visit and find a unique one-of-a-kind treasure for any occasion. SOCIAL: EMAIL: annapcuriosities@gmail.com

1940s Style For You WHY YOU WANT NEED TO SHOP HERE: We specialise in vintage clothing, shoes, hats and accessories from the 1930s and 1940s. We make high end reproduction garments using 1930s and 1940s sewing patterns and fabrics and also hand-knit jumpers from 1940s patterns.

Assistant Creative Director Aly Rose Editor at Large Ria Carruthers Editorial Assistant Gabriela Schunn Editorial Assistant & Online Editor Laura Butcher Fashion Editor Lori-Jade Travel & Culture Editor Brandi Pomfret

WEBSITE: etsy.com/shop/1940sStyleForYou

Contributing Editor Ashleeta Beauchamp

Black Sheep Antiques

Copy-Editors Dee Cooke Jane Connolly Sara Hall

SOCIAL: @1940sStyleForYou

WHY YOU WANT NEED TO SHOP HERE: We supply a carefully curated selection of quality original vintage clothing and accessories from the 1900s-1950s to vintage-loving customers worldwide. Our particular love for the design aesthetic of the 1930s and 1940s means we specialise in pieces from those periods.

We would like to send out a huge Thank You to all who were involved in this issue.

SOCIAL: @BlackSheepAntiques WEBSITE: blacksheepantiques.co.uk

221

The Vintage Woman – Identity | Issue 2

Articles inside

I Feel Like A Womxn

Getting Perfectly Sweet with Shurlee Sweet

Style, Allure & the Craft

Making Their Mark

Ladies of Influence

The Art of Living Authentically

Navigating the Vintage Community As An Intersectional Feminist

Woman of Many Faces