Painter Ramon Barboza talks artistic discovery, low-riders, and the untouchable goddess.

Q: What’s your earliest art memory?  Do you remember the first piece of art you created?

My earliest art memory was when I was in the second grade; I drew a picture of Elvis holding a mic.  My art teacher was very impressed and hung it in the cafeteria.  That was the first time people actually noticed that I could draw.

Q: When did you discover oil as your medium of choice?

I discovered oil as my medium of choice my senior year in high school.

Q: I recently bought an Audrey Hepburn piece at Viva Dallas Burlesque.  Did you use other mediums as well as oil paints on canvas?  Airbrushing perhaps?  Can you describe your method?

Yes, I do use many other mediums in my work. The Hepburn that you purchased was painted with spray paint.  The method I use is spraying the paint through a huge poster board cut out stencil.  This is the same concept of silk screening, pushing pigment through a filter to mass produce work.

Q: Local burlesque entertainers seem to show up as muses in your work often.  What is it about them that inspire you?

Well, the female nude body is the most common subject in my work.  My work glorifies the woman; it transcends her into a untouchable goddess.  So when I was introduced to the burlesque seen here in Dallas, it clicked in my head. The burlesque entertainers have so much in common with my work- strong, beautiful, confident, untouchable women that have so much power.

Q: You take commissions as well.  How does commissioned work differ from your own creations?

Yes I do commissioned work.  My commissioned work differs from my own creations a little because I am working with a customer.  The painting has somewhat of a guideline and is more or less a portrait; where as my personal work may be somewhat abstract and show more feeling.

Q: Why do you work exclusively in black and white?

I work exclusively in black and white because I feel that the pieces have more of a timeless appeal.  I feel that color is more of a distraction to what I am trying to get across.

Q: I know cars are important to you.  What’s your favorite car, what’s your current ride, and do you work on them yourself?

Yes, automobiles are a big part of my life.  I have too many favorite cars and trucks to name, but I lean towards muscle cars, rat rods, and any Chevy short bed. My current rides are a 2003 Silverado which is bagged; it’s my cruising low-rider.  My other truck is a 1977 Silverado; it’s my street rod weekend cruiser.

Q: What does the future hold for you personally?  And for your work?

I plan on learning more mediums and expanding my work to the next level.  I want to make huge pieces that are 10 feet tall that will make an even greater impression.

Viva Van Story, legendary modern pin-up photographer hailing from the North East Coast, talks about her new book due out this month, grainy black and white photographs, the swell in pin-up photographers, being seen, and making your own path.

Interview: Shoshana, Photographs: Viva Van Story

Q: Are you a “classical trained” formally educated photographer, or are to self-taught, trial by fire?  What are your views on the two different “types”?
 
I have taken college classes for photography in my younger years. Some of my first works were Black and White film and I developed my own prints in a darkroom the old fashion way.  Heavy grain was my love.  I think it’s very important to understand the art of photography, without learning it as a whole how can you use that to make your own style.  I still enjoy black and white photography and especially desire to one day shoot with a medium format camera.  I am however self-taught with my lighting.
 
Q: Tell us about the early days.  What was your very first pin-up shoot? 
 
My first love was Sundae Saint Laurent.  I say love because I truly fall in love with my muses.  These are the women who I share my most intimate fantasies with in order to bring them to an image or get the women I’ve let in on my joke to show my humor.  Sundae was exactly what you would imagine Marilyn Monroe would be like.  I shot her topless in my back yard and my neighbors peeped in then threatened to call the police.  How exciting! 
 
Q: You’ve been shooting longer than most modern pin-up photographers.  Have you noticed changes in the culture and scene since you began?  Has it evolved?
 
Yes since 1997.  It’s been a long hard path but filled with adventures and characters.  The east coast is pretty chilled out.  Our scene is very small and everyone is very down to earth and more interested in the bands then being a pin-up model. It’s based more on music and low-key car shows.  I’ve only noticed it’s growing quite fast.  Evolved? I wish more.  
 
It’s interesting to travel to other parts of the world and see their take on it.  Berlin was the most outstanding Rockabilly scene for me, so true to the authentic style wearing so much vintage clothing.   I’ll be going back again this year for another dose.
 
The pin-up photographers have increased by the hundreds, as for the pin-up models- I don’t really follow the scene all too closely since I’m hoping to reach a wider audience with my work.  While I do love pin-up and the whole styling of it, I also have a greater interest in being an artist and respected as an artist not just a pinup photographer. My hope is to make my mark taking this to the next level in pinup; after all we do live in the 21st century not the 50s so it’s important to make that connection.  Without change or artists having the balls to push it further where would we be now with music, movies, fashion, etc.  We are the innovators of our future.  Without this we would have never changed at all.  I still love the early shooters that inspired me the most like Chas Ray Krider and Octavio of Winky Tiki.   They really made their mark with their style.  I’m hoping for the same result but with my own noticeable style.
 
Q: Do you feel you have an advantage in the world of pin-up as a female photographer?
 
I really don’t think it matters.  I see models falling all crazy for the male photographers as well.  Women tend to feel very comfortable around me.
 
Q: On your website you have a quote from a fellow artist.

Pablo Picaso said, “A good artist borrows and a great artist steals.” 
Therefore, in my attempt at greatness, there’s no one I’ve victimized more than Viva Van Story.  Viva is truly my most favorite photographer. Her kick-ass attitude, dirty mind, Punk Rock approach to lighting and raw eye all add up to the most jaw-dropping, sexiest photos I’ve ever seen. Miss Story has gone light years past the typical “cheesecake” pin-up aesthetic and is fearlessly creating new levels of erotic photography.  Viva’s work would make Betty Page blush.  It has been awesome watching Viva’s work evolve over the last 7 years and I cannot wait to see where her art goes from here.  However, one thing is for sure, no matter where Viva’s creativity takes her, I’ll be there to steal from her.  
With much love and respect, 
~Tyson McAdoo, Artist
 
Certainly you have been emulated often, and even downright ripped off on your concepts, sets, poses, and techniques.  Does this leave you flattered or pissed?  Who do you emulate?

 
With new pinup photographers growing daily, you have to work harder to be one step ahead.  It’s not easy but when you find something special and so creative and unique, you will gain more respect then just redoing someone else’s idea or trying to copy another’s style.  Well unless you just want to recreate the exact same old pieces like Vargas.  It’s important to know how to do a good pinup old fashion shot but how many more of these do we need to see?  It depends on what you really want from being an artist or if you are just in it to get attention or make money.  As far as what I look for, for my inspirations, everywhere but the obvious.  *wink*  
 
Q: Viva’s Pin Ups: Bullet Bras and Back Seat Betties, your first solo book is due out this month from London’s Korero Books.  Can you tell us about the process?  How did it come to be, was it a collaborative effort on what would be included?  What was the culling process like? 
 
Doing this book is seriously my dream come true.  I left a small town in Wisconsin when I was 18 saying I’m going to NYC to be an artist.   I left with a portfolio of art and a hundred bucks. The book makes me feel like I’ve done it.  
 
Korero Books is wonderful.  They truly understand my direction and my desire to be unique and see me not only as a pin-up photographer but someone who is pushing her art into new directions. 
 
The book is a hard cover large book filled with 208 pages of 11 years of my favorite artwork.   This is my very first available opportunity to have my work is bulk and at the best quality I could find for it.  There are also never seen images in the book. 
 
You can get information about getting a book from Korero here http://www.korerobooks.co.uk/vivaspinups.html
 
Q: Have you seen the final result?  What should fans expect?
 
My advanced copy is due any day.  I’m very excited.  I’ll be selling signed books directly and doing limited book signings.  I’m excited to be apart of the Brooklyn’s Psychobilly Luau for my first book signing.  My favorite bands are playing like the Goddam Gallows and other great bands that play NYC often.  I’ll also will be doing VLV with a book signing booth.  I was happy to see the book sold out preorders in UK Amazon but I’m sure they will have to restock their shelves.
 
Q: A recent blog you posted on MySpace is titled “My team has gotten a lot more creative”.  The new work is very different.  And boasts boald colors and patterns, more contrast, and pop.  Is this a conscious shift in style, and if so what prompted it? 
 
I wouldn’t say that those photos in that blog are my focus for a new style or direction just a more open style.  I work with a team of stylists so I have to give up some control and trust they will help me advance in my work and experiment from my norm which is important as an artist.  I started by doing all the hair myself so when I do let someone else take that role it’s not easy but I’ve gotten much better at it and I’ve worked with amazing stylists in NYC and throughout the US. 

Q: You have certain models that you seem to have developed a strong repoire with, working with them often.   What are the traits of a successful model?
 
I do have models I am very comfortable working with and will work with them often if we get the same result each time.  My ideas are personal and emotional sometimes for me and I don’t like sharing those intimate feelings with just anyone but with someone who can bring them out in a beautiful way the way I want them revealed.  I also don’t believe in just shooting to shoot.  It wouldn’t be special if I gave it away so often and I need time to fantasize about the idea.  
 
Not sure about traits for a successful model.  Some think it’s all about being published.  I think it’s all about making an artistic photo and having interest in trying to be unique.  I work with ladies who are more interested in being a part of art then being a rock star.  I have no interest in that though, but I have set many on a good path.

 
Q: What advice would you give to aspiring pin-up models? 
 
Be the most welcoming person you can be.  Keep away from all things negative and always stay neutral.   Be passionate about your work, it will show.
 
Q:    What advice would you give to aspiring pin-up photographers?
 
The best advice I got in the beginning of my career was from Floria Sigismondi’s manager, she said,  “show everyone who will look at it” put your work everywhere you can put it” “Some will hate it, some will love it but hey at least they are seeing it.” 
 
From me, “Try to make your own path for your work and not just follow the steps of others, it’s the things you find that are unique that will make you special.”
 
Q: If the Viva Van Story legacy had to be summed up in a sentence, what would you hope it would be?

I like how Tyson McAdoo explains me in my foreword in my book:
Viva Van Story has gone light years past the typical “cheesecake” pin-up aesthetic and is fearlessly creating new levels of erotic photography.

Houston based fashion designer Amberry Jam sits down to talk petticoats, millinery, bobby pins, Velcro, and her Classic Harlequin line.

Interview: Divertida Devotchka Photos: Compliments of Amberry Jam

Q: You studied fashion design at the Art Institute of Fort Lauderdale and then relocated to Houston to study costume design, right? On your website you state that there’s no reason that fashion and costumes should be kept separate. Tell us more about this philosophy.

Yes! Studying fashion made me feel very boxed in. It’s actually a boring field unless you work in a high end avant-garde fashion house, which very few people do. I started studying costume design as a back up and it changed my life. Entering the theater crowd introduced me to people who wanted to push boundaries on a daily basis and not just special occasions, and it’s contagious! I want to bring that fun ‘it’s my birthday, I’m wearing a tiara and glitter’ attitude to every day, and to help others do the same.

Q: Your website says that you believe that everyone should own at least one petticoat. Please share your ideas on the importance/versatility of the petticoat.

Oh they’re the best! There’s something about the gathering of tulle or lace around your body that is just so pretty. Maybe it’s the way it bounces around you when you walk; it just makes you happy. And they look fantastic with almost any outfit, alone or layered under or over a dress. I even wear them when I go to festivals or camping- they’re cute and I have a cushion no matter where I sit!

Q: You started studying millinery in your work in Houston theaters, correct? How long have you been studying and making hats?

I actually took an intro to millinery class in 2006 and fell in love with it. Those kinds of classes are few and far between though so I bought a few books and taught myself as much as I could. It was working under the craftmaster at the Alley Theater when I really flourished. We worked on Our Town and had to research, design, and create 20-something hats in 2 weeks. It was hard work but really rewarding.

Q: The majority of your work is custom orders, but you actually prefer that, don’t you?

Yes. Whether it’s a hat, pasties, or a full costume, I love being challenged and custom work definitely does that. And it’s always different. It might be bringing to life a customer’s sketch, creating a hat for an existing costume, or just being given a theme and getting to present your ideas for it. It keeps my work fun and introduces me to so many interesting people.

Q: There are tons of local costume designers, burlesque performers, and models who love DIY fashion and making hats and costumes. Given your design experience, what do you consider to be the most common costuming/hat-making errors that you’ve seen in the industry? In your opinion, what makes a bad costume or hat “bad”?

Too many bobby pins! Please attach an inner comb or headband! I once saw a beautiful silk and felt floral cocktail hat with at least 8 pins in holding it down. It completely overwhelmed the hat which is so sad because she clearly put a lot of work into it. For burlesque costumes, if you’re going to use Velcro, I think you should dye it to match the fabric. Even in large theaters, you can see that strip of fuzzy white from the back row. It might just be for a second, but anything that draws the eye away from you is bad.

Q: When did you release your Classic Harlequin line? What are your goals for Classic Harlequin (and beyond, for that matter)?

Classic-Harlequin.com was launched in October as my ‘ready to wear’ line. I wanted to create a line of hats that could be incorporated into your daily wear so that it no longer looks like daily wear. I’m so happy that it’s been well received by the retro and burlesque crowd, including the Pin-Up Society. That’s a group of girls who know how to dress (and drink!). I’m hoping that it continues to be successful and fuels interest in my custom and one-of-a-kind pieces.

Q: Anything you’d like to add?

Yes. Custom work is temporarily on hold until July. I’m touring a few art and music festivals in California this summer to sell my hats and spread the word about the south’s growing burlesque scene. But people can still see a gallery of past work, join my mailing list, or request work for when I get back by going to classic-harlequin.com or sending an email to AmberryJam@gmail.com.

LaDonna Hearne sits down to talk Hot Rods and Heels, TFP, her upcoming marriage, and how getting fired changed her life for the better. Hearne will be teaching a workshop in make-up at 5pm at Hot Rods and Heels on May 15th

Interview: Divertida Devotchka

Q: You’re doing a pin-up hair and makeup workshop at Hot Rods and Heels this year. Have you ever done a workshop before? What are your expectations?

I have taught lessons and done a few workshops over the years. I feel really confident that the workshop will be very informative. I will mainly be covering the basics of a classic pinup look, but I will answer any questions that may come up. I also offer private lessons that can be scheduled with me at a later date.

Q: What’s the best advice you can offer a gal who wants to do create her own pin-up look?

The best advice I can offer to create a pinup look is to focus on the lips and keep everything else clean and simple. A well defined eyebrow also nicely pulls together a pinup look…and false eyelashes!

Q: You have a wealth of experience in the industry, dating back to 1995, correct? Please briefly describe your education and training.

I started my training back in 1994-95, with Diane’s School Of Modeling at the Diane Dick Modeling agency in Amarillo, Texas, where I also taught a few classes on makeup. From there I dabbled in the industry here and there while attending the University of North Texas majoring in Art History. I also took theatrical makeup at UNT. I then worked for MAC cosmetics for about 3 years, where I had a management position and was a member of the elite Impact Team.

Q: You’re known by some for saying that being fired was the best thing that ever happened to you. From what job were you fired and how did that open up new doors for you?

Leaving MAC ended up benefiting me greatly. I was definitely fed up with retail. My career at MAC led me to where I am today, but it took getting fired for being tardy in December 2008 to force me to pursue my real dream of being a professional makeup artist. Fortunately, my family and fiancé were very supportive, so I was able to build my business and get my name out there without getting distracted by a “real job”. I also have to thank all that networking I had been doing for the past decade when I was out and about. A lot of the friends I have made over the years grew up to be fabulous photographers and models, and they really helped me get on my feet.

Q: What advice do you have for those who want a gig like yours?

The best advice I can give to anyone who wants to do what I do is to go work for MAC or some other makeup line that offers training and the opportunity to work on all sorts of random people. You will be ready for any face that you are asked to work on. The other bit of very important advice I would give is don’t turn down TFP work (trade for print), unless the photographer totally sucks. EVERY job I have done for trade has led me to more clients and paid gigs. Treat every job like you are making $100 per hour. You never know who is watching!

Q: What’s the most rewarding aspect of your job? The most challenging aspect?

The most rewarding aspect of my job is helping to create art and making people feel great about themselves. I love working with regular gals, some who have never worn makeup or felt pretty. There is beauty in every woman, and it is awesome to help them discover that. It’s also fun working with my modely-models and coming up with creative new concepts!

The most challenging aspect of my job would probably be finding time for my family. I am usually the busiest on weekends, I start very early (8 or earlier) and do as many jobs as I can cram into my day and night, sometimes 4 or 5 all over the metroplex. Just looking at my schedule makes my feet hurt sometimes. I love what I do so it doesn’t really feel like work!

Q: Do you have any makeup pet peeves or makeup pitfalls to which you think most women commonly succumb?

Never skip mascara! Otherwise have fun, be creative, and the rules are made to be broken. Perfecting the skin with at least a little concealer or powder is essential for pulling off any makeup look. I love to see creative, crazy makeup on people, but it just doesn’t work if your zits and dark under-eye circles are uncovered.

Q: Any upcoming events or projects you’d like to discuss?

I have several projects coming up that I am really excited about, not limited to but including a big campaign with Shelly Singleton of SKS Cosmetics showcasing her makeup line, a fabulous shoot with Through the Looking Glass Studios involving a huge moon prop, a House of Mob fashion show, and a Brutal Beauties shoot with Roxanne Dale by H. James Hoff for Brutal Industries. I am also look forward to resuming my Lempicka project that I have been working on with Neither Noir Studios and anything involving accessories by Slipshod Sally. And of course my wedding to Jason Stein in October!

Q: What goals do you have for the upcoming year?

One of my goals for the upcoming year is to get more of my work published in magazines. My work will be in a spread in an upcoming issue of AltNoir magazine featuring Kaia in clothing by Victoria Velvet shot by H. James Hoff. I would also like to see more development of the Brutal Beauties project by Brutal Industries, and help my friends in the industry become more successful and achieve their goals too!

Q: What are your 5 favorite beauty products?

Eyeshadow by SKS cosmetics, dry spray wax for hair, MAC Brushes (essentials – 224, 212, 160), MAC Russian Red Lipstick, Magic Powder by SKS cosmetics

Boudoir Queen is the newest incarnation of Austin based designer Dawn Younger-Smith. Smith talks fashion, James Bond, Courtney Love, “dolly style”, and “the perfect dress”.

Interview: Shoshana, Photos: Courtesy of Dawn Younger-Smith

Q: You began your career in the arts as a make-up artist to the stars in Hollywood.  What are some of your most memorable stories from that part of our career? 

I worked in a few a salons in Beverly Hills where Barbara Streisand , Diana Ross an Faye Dunaway were regulars. One of the highlights of my make-up career was doing  Lisa Marie Presley’s make-up . She of course has the face dreams are made of. Chynna Phillips was another favorite face. Bond girl Maude Adams was one of the most beautiful and nicest clients I had during my career. I also had the chance to be one of the make-up artists for Thierry Mugler’s runway show. It was an amazing experience and certainly started me thinking how wonderful it would be to be a designer. Unfortunately some of the most memorable stories I can’t tell.

Q: Does anything you learned as a make-up artist translate your current fashion work?

Yes definitely.  I did a lot of editorial shoot’s and worked with several fabulous photographers. I learned a lot during that period about lighting and styling.  I incorporate all of that into my designs, styling and photographs today.
 
Q: You eventually relocated from California to Austin, Texas.  What prompted the move?  Does the culture and climate of Austin play into your artistry at all?

The move from California to Austin was a very big deal for me. I had lived in California my entire life. My husband former Billy Idol guitar player Mark Younger-Smith was a musician in Austin. His work required him to be in Austin so I moved. Austin culture is interesting but I mainly sell to London, Los Angeles and New York.

 
Q:  Boudoir Queen is your current fashion label.  When did the designs begin to take shape?  

My Boudoir Queen style started in Los Angeles . The idea for my designs came from my obsession with Boudoir Doll’s and 1920’s boudoir décor. My first designs were metallic lace cuffs and boudoir doll face purses made by me.
 
Q: What is your inspiration for the Boudoir Queen line?

The Boudoir Queen line is inspired by 1920’s Boudoir Art Doll’s. At one time I had over 500 of them. Unlike most dolls from the mid 20th century, which were made for children, boudoir dolls were made for ladies. Their elaborate gowns of silk, rosette flowers and metallic lace inspired me to design doll clothes for people. We specialize in “Dolly Style” I’ve noticed this style has become quite the trend in Japan right now.
 
Q: Your line is very elegant and luxurious, yet tattered and torn at the same time.  Does this speak to your view of the feminine at all? 

Yes, I think women and their fashion can be a little rough around the edges, but can still be quite beautiful inside and out.
 
Q: You have quite an impressive client list, including Emmy Lou Harris, Courtney Love, and The Veronica’s.  What are some of your proudest moments as a designer?

A couple of months ago we designed a special corset and choker for Evan Rachel Wood to wear in the new Carney Video.  The video turned out amazing.

One of my proudest moments as a designer was creating a dress for Patty Griffin to wear for the Elizabeth Town premiere where she performed. Her thanking us on her Impossible Dream CD was very exciting.  Patty Griffin brought Emmy Lou Harris to our studio in Austin. They sang together that night and both wore BQ.  Emmy Lou Harris also wore a custom BQ chiffon dress in one of her videos. 

Making uber elaborate head-dresses for Karen Elson and Sarah Sophie Flicker for the Citizens band  performance in New York was also a highlight. Most recently Courtney Love wore one of our Boudoir Queen designs a duck egg blue dress on stage with Bono at Carnegie Hall. The Veronica’s also wore our clothes on the hit T.V. show So You Think You Can Dance. That was pretty thrilling as well.
 
Q: Who are your fashion idols?

Anita Pallenberg, Marchesa Casati, Paul Poiret Catherine Baba and Edie Sedgwick are a few of my muses. I also love Bette Davis. It was rumored that she had an embroidered pillow in her room that said “No Guts No Glory” I have taken that as my motto. You have to take risks in the fashion business. 
 
Q: In your opinion, what should women address first in searching for that “perfect dress”?

Whenever I personally search for the “perfect dress” I always look for the unusual. I found that this was starting to become very difficult and at that point started having my clothes made. I do think that the way a dress fits is most important.
 
Q: What should our female readers look for in the perfect fashion accessory?

Quality. It needs to be well made. I also like an accessory that I can wear with many different outfits.  Versatility is key. My jeweled cuffs and our new Boudoir Be-Decked jewelry line are some of my personal favorites.

I also recommend a hot pair of shoes,  large rings and BQ Tap Pants under everything. Our tap pants are taking off big time. You can take a peek at them on our new website www.TheBoudoirQueen.com

Kim Stewart of Poisoned Creations talks monsters, DIY, her mini-me and her new crafting forum. Poisoned Creations will be vending next at Hot Rods and Heels on May 15th!

Interview: Divertida Devotchka

1. You’ve been on Etsy since 2007, but when and how did Poisoned Creations actually begin?

I think being crafty runs in my blood. My grandmother on my mom’s side sews and crafts like no other. My grandfather on my dad’s side used to run sweater machines and would make sweaters, scarves, etc. Poisoned Creations began sometime before May of that year. I started making baby bibs, blankets, and burp cloths for my unborn twin nephews. I was also making dresses and skirts for my daughter. My friends seemed to love the non-traditional prints that I used so I started making items for their kids. They encouraged me to start selling them based on responses that they were getting from strangers.
 
2. What are some of your sources of inspiration?

My inspiration comes from my love of culture, tattoos, music, cars and burlesque. They all inspire my styles, colors and prints. They also drive my passion and are where my ideas flow from. Some ideas have actually come in my dreams.
 
3. You’re active in the hotrod, burlesque and art scenes in the Dallas area, correct? Of those, do you have a favorite specialty, or is that the whole reason you decided to bring all those elements together in your business?

My husband is a photographer for custom car magazines so I started vending at the car shows since we always seemed to be at them anyway. They usually have good crowds and they always seemed to appreciate my fabric choices. From there I made more local contacts and decided to add craft and art shows. Eventually, I shifted the focus of my shop and started doing clothing. Burlesque shows quickly became my favorite places to vend. Unlike car shows, even when the weather isn’t that great, the crowd is always big and you always have a great show to watch.
 
4. Can you tell me more about your project Poisoned Monsters?

My daughter saw a sock monkey and really loved it but didn’t like the color. Me being the DIY type, I took it to a new level using my own style. It took a few tries to perfect my pattern but it worked! They are a hit at shows, whether it’s for a child or an adult who happens to collect weird dolls. When I shifted focus of my shop they really didn’t fit in. So after I got the clothing and accessories store going, I started to work on the Poisoned Monster shop. I do regular monsters but also have a line of character monsters that include the punk rocker, zombie and hippie.
 
5. You were a vendor at Hotrods and Heels last year and your designs were featured in the fashion show. Care to share about your experience at the event?

Hotrods and Heels was an absolute blast! It was my first fashion show. I was paired-up with three fabulous models: Amber Deville, Rachael Sin and Dolly Dangerous. All three showed off my designs very well and each had their own unique look that was so perfect! I loved how the show had a mixture of everything. While the ladies shopped the men had cars outside to keep them entertained. It was truly a one of a kind show. I can’t wait to do it again this year!
 
6. Based on your Myspace and Etsy sites, it seems the “do it yourself” mentality is very important to you. Can you offer any suggestions for those who’d like to try DIY?

Many major companies aren’t being mindful of where their products are coming from or what’s being used in them and I think that has pushed the growth of the DIY movement. You no longer have to choose the big corporations and their mass made products. You can choose to buy quality, hand-made items made from the best materials. As for advice, I would simply say just get out there, practice and try something new. There are all kinds of DIY tutorials on the internet that can help you. In an effort to support the DIY scene, my friend Cindy from Angry Girl Gear and myself have partnered up and will be coming out with a DIY forum called Attack of the Craft. It goes live April 1st. Whether you DIY for fun, own a shop or you just love handmade items, it’s a place to talk, get advice, tips, or just hang out. It’s a community where everyone has at least one thing in common – their love for DIY. The website is http://AttackoftheCraft.com.

7. What do you consider to be the most challenging aspect of being DIY?

The most challenging aspect of having a DIY business is time. There aren’t enough hours in the day. I work full time, have a daughter who’s in school and dance, travel with my husband when he’s doing photo shoots for magazines and I own my own business. It’s rough sometimes but I definitely wouldn’t change a thing. I adore being creative and making my own things. I do it all by myself but have the support of an awesome brother and sister-in-law who help me at shows. Other than that it’s a one woman shop.   

8. How old is your daughter and does she have any involvement with your crafts? Are her interests similar to yours?

My daughter, Leila, is 10. She is very much my “mini-me.” When I do non-shop designs, she will pull up a chair next to me and try to help. She has her own crafts as well, from sewing felt stuffies, to screen printing (a kid’s screen printer) her own shirts, to making bubble magnets. She actually started selling bubble magnets at some of the shows that I have vended at in the past. She was so proud when people loved them and has even sold out at a few shows. She sometimes helps me package orders, pick out colors or fabrics and keeps me entertained while I sew.

9. Have you ever had any problems with someone copying your designs?

I have learned that people who copy will never succeed. They usually get bored and try to find the next “big thing” and move on. All you can do is improve your own product and keep on going.

10. What is your big picture goal for Poisoned Creations?

My big goal is to get my designs into shops around town and other cities.  I have been concentrating on getting my name out there and working on my online presence.

Putting a New Spin on the Tradition of Pinup: Meet Girls Drawin Girls

By Bubbles von BonBon

The female form has always been emulated in art with the artists of each period dictating what should be stylized and celebrated in these figures. Traditionally, with the emergence of comic art and design, the predominantly male profession of illustration has often left their female peers to try to reconcile their own artistic desires with the rules already in place regarding what women should look like in a fantasy world of idealized proportions. Essentially, men have been making the rules governing how women should be represented in pinup art.

Animators, artists, and designers have joined forces to form the all female collective Girls Drawin Girls within the visual arts community to change the norms associated with pinup imagery in comics. And they’re showing off their T&A in the process—a girl can get real far these days with Talent and Ambition.  Co-founded by Melody Severns of Simpsons fame and storyboard artist Anne Walker in 2006, Girls Drawin Girls has emerged into pinup art culture through varied channels. Organizing events in southern California to showcase their works and collaborating on themed print pinup books, the group seeks to inform us what the female artistic eye beholds as beauty while supporting each of their members’ pursuit of their place in the art world. Their blog features drawings from members old and new, artist spotlights, and links and information for what the girls do outside of their pinup work. Beyond bettering and advancing their own craft and recognition within the field, Girls Drawin Girls makes an effort to contribute to the betterment of the world around them by offering their works and time to charitable causes such as the Pasadena Chalk Festival and GDG’s recent fundraiser for American Red Cross aid in Haiti. While the girls don’t always receive monetary compensation, they are making a bold statement to the world: female artists hold an equally impactful place in the community of visual art.

The approximately 35 artists come from a wide scope of industries with a heavy concentration in the animation field. They share a common goal, proving the prowess of female artists in a male-dominated profession. And their common tastes run toward a more naturally rendered form—after all, don’t we prefer that even boob jobs look lush and appealing with feminine curves, rather than the bulbous forms sometimes inked by their male counterparts? But here’s another thing cool about these girls: even if they are women united in a common art with a common goal, each artist puts such a unique spin on what they believe is beautiful in the female form that it’s like seeing the women that surround you every day in a whole new light. You start looking for superheroes in the supermarket and wondering if the girl you see at the bar secretly likes to wear gardening gloves and a flirty apron. (See here, here, and here for some of my favorites on their blog.)

Female artists have long struggled to gain the recognition they deserve. From Artemesia Gentileschi gaining entrance as the first female artist into the Accademia di Arte del Disegno in the early Baroque period—painting imagery of strong female Biblical heroines typically ignored by her male peers, to the trivialized and still largely unrecognized “Ink and Paint Girls” of Walt Disney Animation that devoted countless hours to adding the extra sparkle and necessary color to produce the dream-like reality of Disney’s full length feature animation in the 1930s and 40s, women have been forced to fight hard against discrimination from their male colleagues, who were often resistant to accepting their artistic contributions. But you cannot complain about exclusion if you are not willing to do the steps necessary to establish yourself in a field, and like female artists of the past, GDG has joined together to prove that the viewer deserves to encounter a variety of aesthetic interpretations, regardless of gender, race, or any other factor related to the artist. They don’t seek recognition as female artists, but rather just as artists—equal to their male counterparts and with images just as powerfully appealing.

The 1940s and 50s are the periods most frequently associated with pinup art. However, unwilling to pigeonhole the pinup form to one particular decade or look, GDG’s first print volume featured the theme, A Girl in Time, offering diverse visions of the female form through the decades and even into the future. What makes their pinup art stand apart from that which is typically associated with mid-twentieth century drawn female forms is that there has been a power exchange. Now rather than women being merely the object of pinup interpretation, they become the subject of an aesthetic statement as women artists look into their own minds to decide what is attractive and illustrate that which allows their female figures the simultaneous opportunity to be both sexy and powerful. Pinup as a medium becomes an evolving art as female artists bring their own set of ideals to the table of artistic discussion. In a similar stance of taking control of how women are portrayed, the second volume by GDG showcased Once upon a Girl, a reinterpretation of fairytales that once again allows the artists to decide what fantasy should look like. If female viewers are the primary audience for fairytales, then female artists should have the opportunity to dictate the imagery associated with those stories.

Reinterpretation to put a female-positive spin on art forms that have been regarded as objectifying to some feminists is similar to another art form enjoying a great resurgence—burlesque. Just as the reemergence of striptease as a form of performance art has increasingly gained popularity among female fans, pinup art offers an opportunity to female artists to take charge of what they want portrayed as beauty in the public eye. Women enjoy sexual arts; but it’s altogether much more satisfying when they have a say in what is being sold as sexy. By choosing what they want to see in female forms, GDG is providing an entirely new and different canon of imagery for female artists after them. Relying on their pens and paints and laptops to illustrate pinups is more than just creating pretty girls to look at; it’s creating new tenets and options for what should be looked at as pretty.

Female artists may submit their portfolios for review to gain entrance to GDG, and a few of the seasoned artists and animators provide feedback for all submissions even if they are not deemed ready to join. There is a strong dedication here to encourage all artists who are searching for the right inspiration or support.  Once they are part of the collective, the artists make a commitment to spend time creating images that work toward originating or establishing their own particular brand of pinup art.

The girls are based all over the country, with the majority found along the west coast. They communicate mostly through newsletters and emails, and they work together to produce their shows, printed volumes, and the blog. But there is no hard and fast rule of aesthetic that is accepted into GDG. As they set out to diversify the look of female characters in drawn and animated art, they do not discriminate against variety within their own ranks. This acknowledgment that each of the artists is allowed to embrace what she deems as beautiful in the female form frees each of the artists to embrace making a world as they wish to draw it, unrestrained by any rules except those that they form for themselves.

In terms of what they contribute to art and animation society as a whole, Girls Drawin Girls offers a forum to showcase a variety of female artists around a common theme that doesn’t limit the space for individual interpretation. For some there is a tendency toward strong superhero women, the likes of which haven’t found a strong foothold yet in comics and animation.  For others, they turn to classic poses and shapes, yet there is often a tendency to better balance out those more naturalistically drawn bosoms with realistic hips and thighs…even when the small waists still take center stage. In some instances, body shape is not as relevant, the artists deciding instead to bring focus to facial features or a sense of emotion, their pinups evoking more than just a physical presence on the page. GDG gives each of their artists the space and opportunity to present what they see as pinup in its ultimate style. A growing force in the field of pinup art, Girls Drawin Girls is reshaping the lines of illustrative norms, in a way that is proving both fun for its members and highly effective—or addictive—to their fans and viewers.

Brooklyn, New York’s Paigey Pumphrey, pin-up and comic book artist extraordinaire sits down to talk Ed Emberley, superheroines, Mary Jane, curvy gals, and sausage fests.

Interview: Shoshana. Illustrations: Paigey. Photograph of artist: Atomic Cheesecake Studios

Q: In your blog, you credit Ed Emberley with teaching you to draw. How serious are you about this claim, or is it more tongue and cheek?

Oh I was indeed serious! Ed Emberley provided me with the foundation for which all my drawing skills have been based on. He taught me at an early age to break down something visually into simple objects to better process them from eye to hand to paper. Without him providing such early guidance I probably would have had a lot of trouble later on with learning basic anatomy and composition. I’m still a hardcore Emberley fan to this day. One of my next tattoos I’m planning to get is the werewolf from his Big Drawing Book of Weirdos. There’s even a documentary currently being filmed about his Make a World book. If there’s a child in your life who has an interest in drawing I highly suggest picking up a book or two of his, they go for pretty cheap and you never know- they might be an investment in that kid’s future.
 
Q: When did your love of comics begin?

I started out originally wanting to be a Disney animator til about sixth grade when I discovered my brother’s issue of Uncanny X-Men #236. That’s the one from the ‘80s where it opens up with Wolverine and Rogue fighting in Genosha against tons of armed guards — completely naked. Then I had no idea what I was reading, it was a terrible jumping-on point. But it was so exciting and sexy and dramatic and it was like a big budget movie being played out right in my hands. That issue inspired me to delve further into comics, starting with my brother’s stash of X-Men and Conan the Barbarians laying around the house and eventually I started buying and drawing my own comics from 7th grade on. 
 
Q: What have been some of your favorite illustration collaborations to date?

At the risk of sounding corny, I’d have to say my boyfriend, Phil Balsman, aka Ballsy is one of my favorite collaborators. Not only is he a great illustrator, but he also does about 95% of my lettering, typography and title treatments for my pieces. We both attended the Joe Kubert School of Cartoon and Graphic Arts back in 99-01, though back then we were just friends.

A former letterer for DC Comics and now an Art Director/Designer for Del Rey manga, he creates the perfect marriage of type to my pictures. We started working together about a year into going out on a series of old EC-style comic covers that were used in group art shows. I’ll create a ‘cover illustration’ based on that criteria, then Ballsy will come in and do the title block and any word balloons or sound effects. There’s few people if any I have that complete of a trust with regarding my artwork, he is definitely one of them. 
 
Q: How does your love of comics translate to pin-ups?

 I’ve always had a fascination with drawing pretty girls. My definition of ‘pretty girls’ however has changed throughout the years, it’s evolved from generic spandex-clad superheroine to straight up heroin chic through my teens and twenties to the plumper, softer, bubblier girls I draw now. I think it has to do with what artists look to for inspiration.

When I was drawing nothing but superheroes, that was because that was all I was reading and for the most part the only artwork I was exposed to that caught my interest. This was also during the big 90’s comic book boom when everyone was drawing more ‘extreme’ than the next guy and female points of view in the comic realm were so much harder to find. Then I drew these super-skinny, miserable-looking heroin chic girls in the late 90’s, when I started getting my influences from fashion and club culture, especially raves, gothic industrial clubs and Gregg Araki movies.

 I think it’s always been that I draw the kind of girl I’d want to live vicariously through. Now it’s these perpetually giddy girls with hips and thighs and tummies and smiles that are dancing and eating bon bons and having a great old time. The stuff I do now seems to make people happy. When I see people flip through my art book or portfolio they’re always smiling, and I like seeing that. 

Q: You now have a resin figurine Miss Mary Jane, obviously inspired by a love for pot and pin-up, available via pre-order through Patch Together. This super cute figure even wears a plastic baggy inspired hoodie! Explain the process from sketchbook to completed toy available for purchase.

Miss Mary Jane started out in 2007 as a little doodle I sketched out during lunch at my day job shortly after I moved to New York. I used to smoke ALOT, about 3-4 years ago and had kicked the idea around in my head for awhile. And it just came out one day, and I took it to finishes and it became one of the more popular pieces in my portfolio. A girl back in Maryland even got her tattooed on her arm.

It’s always a bit of a ‘test’ with those who see it, as it’s about a 60-40 split between those who think she’s a broccoli girl/ the Jolly Green Giant’s wife and those who realize she’s a girl made out of weed. It’s kind of like my little test to see who’s a stoner. Though as soon as anyone realized she’s a weed girl everything starts falling into place- the green tint to her skin, the hair texture, the plastic baggy hoodie with the multicolored seal/zipper.

I entered her into Patch Together’s ongoing design contest primarily for shits and giggles. I’m a big fan of Miss Monster and have both her Foo Dog and Tentatiger toys, and thought I’d give a shot submitting and thought nothing of it. I was accepted and started getting votes and after it was approved for preorder I was all ‘Oh crap- this is real now.’

Seeing my artwork interpreted as a 3D sculpture and ultimately having my own toy out on the market is so surreal and awesome at the same time, and this is definitely not the last collaboration I plan on doing with Patch Together. The journey of making Miss Mary Jane into a toy has been a tremendous learning experience. The sculptor I worked with- Miller, has done an amazing job and had nothing less than the utmost patience with my 8 million revisions going back and forth. Kudos and high fives all around! 

Q: Roller derby, pin-up, and burlesque seem to be reoccurring themes in your comic book characters. All three have experienced cult revivals over the past five years. What is it about these particular muses that have you so captivated?

I think that all three are so inspiring to me. Roller derby because I love the names and personas those involved all have. I insist on calling those involved by their derby names, mostly because they’re easier to remember, but also cuz it’s so damn cool. It’s like knowing a superhero. 

It’s also a great jumping-off place as an artist to get recognized locally for your talents. My first derby experience was the inaugural bout Charm City Roller Girls in Baltimore and was inspired. I started emailing them, offering my artistic services and would show up to practices for impromptu life drawing. I started doing portraits of all the first season lineups, which got me some recognition in the Baltimore art scene and the beginnings of my portrait commission business. I owe a lot to them for helping me launch my artistic career.

Pin-up was a natural transition from my time going to comic book and anime conventions as a fan and taking part in ‘cosplay’, where I and several other girls I knew would dress up in homemade costumes of different characters and run around the con floor getting our pictures taken. I was actually getting pictures taken of myself in pinup style before it dawned on me to draw like that as well. Once I started drawing my girls cuter and bubblier people really started taking notice, and my work was progressively more well-received.

It was then I found my artistic niche and I’ve been running with it ever since. With burlesque, I was only recently introduced to this amazing subculture a little over a year ago, shortly after I moved to New York City. I barely knew anything about it until I moved here, let alone that there was a whole revival. I think my first real exposure to it was through Dr Sketchy’s Anti Art School, which is a life-drawing session in a bar with a burlesque performer as a model. I was blown away, I started going to shows, making friends with performers.  

Now I can’t get enough! I love it, it’s so appealing to me on so many levels. I’ve even taken a few classes at NY School of Burlesque. If I had more time between drawing and my day job I’d be up on stage myself. 
 
Q: You spend a lot of time on the comic book circuit. Is it still a male dominated scene, or are female artists more prevalent now?

It’s getting better, but there’s still a pretty strong ’sausage party’ vibe, which can work both for and against you when you’re female. If you play your cards right you can definitely get a little extra attention from passerby in the Artist Alleys section of the con, where the up-and-comers usually hang out and hock their wares. I always dress up for conventions, so I can work as basically my own ‘booth babe’.

Instead of the fans talking to a paid representative of said company/artist, they actually get to talk to the artist herself, being me. Plus with my 6+ years of retail experience I feel I get the best response from customers and hopeful future fans when I’m standing at their level, making eye contact and greeting them as they enter my ’store’, aka the front of my booth.

There’s so many times going to comic cons as a fan that I’ve found myself in Artist Alley and have a whole ‘Don’t look in their eyes!’ moment. I hate when artists are pushy pitchmen over their work. I’ve left Artist Alley way too many times as a fan with books and ashcans and such I didn’t even want in the first place, but was guilted into buying or taking, and I end up throwing them away only days later.

As an artist, I try to just be friendly and personable, and barely even mention my work, even though it’s displayed all around my table. I let my work speak for itself, and I only talk about it to folks that seem interested. As it should be, I’d much rather 20 people take my card of their own free will with them back to their house than see 100 cards I’ve pushed on people ending up on the floor or trash can.
 
Q: What does the future hold for Paigey?

In the next year I’m hoping to hit at least 5 east coast comic conventions between Baltimore and New York. The plan is to do as many cons as I can on the east coast that I don’t need a hotel room or crazy travel expenses for. And since I live in Brooklyn and my folks live in Baltimore I’ve got a nice centralized area to work within the con circuit.

Hopefully, all that will be able to pay for me to head out to the BIG one, San Diego Comiccon, in 2011. I recently joined up with an art collective called Girls Drawin’ Girls, a group of 40+ all-female pin-up and girlie artists, primarily based out of southern California. Through them, I’ve been able to get some much-needed west coast exposure and they have a table at SDCC every year that I’ll work at when I go.
I also plan on doing more toys through Patch Together, including an original roller girl character I created and hopefully I’ll have enough material to release a new artbook by the end of 2010.
 
-Paigey! xoxo

“Comics, Commissions and Camaraderie!”

You can view more of Paigey’s work at www.theartofpaigey.blogspot.com

Corset designer Jennifer Gonzalez of Jupiter Moon 3 talks shop discussing corsets, time management, Aqua Teen Hunger Force, and evolution.

Q: What’s the story behind the name- Jupiter Moon 3?

It’s a long story.  When I was starting out part time, as a hobbyist, I went through several company names.  Nothing ever felt right, and nothing stuck.  But all of the names I came up with had something to do with planets, I’m not sure why.  I was “Triptych Moon” for a short while, then “Eight Thirty and Earth” after an exciting Burning Man experience in 1999.  Then one night, in 2002, I had a dream that I was on Jupiter with my family.  I looked out at the horizon, as the sun was setting behind me, and in the sky I saw nine of Jupiter’s moons cascading in each others partial eclipse, one behind the other, in a sort of orange-yellow spiral.  It’s the most beautiful thing I have ever dreamed up!  I need to paint that some day!  Why I chose to add the “3″ is a mystery to me.  It’s my lucky number, maybe that’s why.  However, I may drop the 3 eventually, people rarely know it’s part of the name.

Q: Tell us about the early days of Jupiter Moon 3, how did you get your start?

My mom taught me to sew at an early age.  But when it came to corsets, I had to start almost from scratch.  I think it was fate; I was a poor starving artist!  I couldn’t afford to buy a corset.   I was going to college at the time in the Bay Area in California when I got started, in 1997.  I fell in love with Romantasy corsets in San Francisco, and couldn’t afford to indulge.  But I was determined to have a corset, so I started creating my own patterns for simple waist cinchers, it was more affordable.  Gradually I moved on to more intricate underbusts and overbusts.  It was a difficult process, and it took me many years to perfect.  I’m still perfecting my designs, it’s a never ending process.

Q: How did you take your corset making business from a hobby to your full time job?

When I started making corsets and costumes, my designs caught the eye of my friends.  A few of them placed orders with me, then friends of friends, then people who heard of me through word of mouth.  After I moved to Texas in 2000, I started selling as a very part time income, just for fun.  I never thought I could make a career out of it.  After I started selling online in early 2004, my designs were selling like hotcakes, and I was able to make Jupiter Moon 3 my full time career.  I was almost forced to; I was receiving so many orders, I didn’t have time for a “regular” job anymore!

Q: The rewards are often obvious, but what are some of the biggest challenges you face as a small business owner?

I do everything for my business.  Designing, sewing, secretarial work, web design, promotions, everything.  I do this so I can keep my costs down for my clients by not paying someone else to do all of these things for me.  But it creates problems at the same time.  One of my biggest challenges is keeping up with all of those tasks and still finding time to actually sew.  I work about 60 hours a week on average.  Sometimes a lot less, sometimes more.  A 14 hour shift is quite normal for me.  I try to keep my clients happy, and not let them feel neglected, but answering the plethora of emails I receive is increasingly difficult with more and more orders being placed.  It’s something I’m still adjusting to after all this time!  I do find my balance, it just means more hours.  I have to turn down orders occasionally, otherwise I would get too backed up, and orders would just take too long.  But the positives greatly outweigh the negatives, I work at home, I make my own hours, and I don’t have to ask the boss if I can go on vacation, so I don’t complain too often!

Q: What are the have been the biggest evolutions or revelations in your work?

Every day is an evolution.  Every corset brings new challenges, new ideas, new revelations, and my work is constantly evolving, improving, and changing.  I look at corsets I made several years ago, and I can pinpoint every little detail that I have worked through, changed, and improved on with more recent corsets.  I am always adding new details, new support methods, anything to help my corsets and my skills improve.  I will never plateau with my work, it’s a constant challenge to make them better and better.

Q: You have done custom corset and costume creations for some of the biggest names in the industry including Masuimi Max and Angela Ryan. What has been your funniest custom order? Which has been your most challenging?

My funniest costume order has nothing to do with corsets.  When we were dating, my husband asked me to make him a Master Shake costume for Halloween, from Aqua Teen Hunger Force.  It turned out so much better than I could have imagined, and it was hilarious!  He has worn it on three different Halloweens now.   I joined him two years ago as Frylock, with high heels, black hose and garters, since I couldn’t float or make my legs invisible!  It was my first un-corseted costume in more years than I can remember.

My most challenging piece was a costume I recently completed for Masuimi Max.  She wanted a circus costume, and putting together all of my ideas was like putting together a puzzle with no picture to refer to!  I had all of the components in my head, five pieces, but no idea if they would look good together when it was completed.  I challenged myself and went for it anyway.  The skirt in itself was a challenge, the finished edge was over 65 yards of organza with a rolled hem.  It was also the most crystals I have ever added to a piece.  The costume turned out to be my favorite creation yet!  A close second is the Snow Queen costume for Angela Ryan!

Q: Without giving away any trade secrets, can you take us through your creative process? What makes your work so unique & of such high quality?

My creative process is an assembly line.  Most people would probably work on one corset at a time to avoid the monotony.  Not me!  I work on four or five corsets at a time.  On day one, I will iron and interface all of the fabric, then pattern and cut out each one.  On day two or three, I will sew all of the pieces together, including bone accents, making a sort of corset shell.  Then I will cut and tip all of the bones.  I will sew in trims and other accessories.  After that, I will sew each shell to it’s lining and finish the fabric part.  Then I sew on lace, glue crystals, sew on bead work, and whatever else my client wants, those are my crafty days!  On the last day, I will grommet all of the corsets.  This whole process can take days or weeks, depending on the intricacy of the orders, and how many corsets I am working on at the time.

My corsets are quality because I try to pay attention to every stitch.  My corsets are original, and will remain so, because I design my own patterns, and because I taught myself how to make them.  No other designer sews corsets the way I do.  I have a very different process than other corset makers.  All of these details keep my work unique, and I pride myself on quality and dedication to my work.

Q: What should women look for in a quality corset?

The most important factor in a corset is having it made custom.  It’s very difficult for a woman to find an off the rack corset that fits her perfectly.  It does happen, but custom is perfection.  If her grommets are closed at the bottom and open at the top, or vice versa, or even closed in the middle and open at the top and bottom, it’s a bad fit.  She would be so much happier in a custom corset.

Another important thing to look for are the supplies.  Steel boning is a must.  Plastic boned corsets shouldn’t even be considered corsets, in my corset-snob opinion!

Denton-based crafter, hot-rod enthusiast, and army wife Dakota Darling talks sewing, Day of the Dead, and pop culture.

Interview: Shoshana Photographs: Courtesy of Dakota Darling

Q: Tell us about the birth of Dakota Darling Designs. How did you get your start and what’s the story behind the name?

I’ve always been crafty! My father is an artist and a photographer, so I grew up in a home with a darkroom and a closet full of art supplies at my fingertips, and my grandmother insisted that I learn to sew before I was even old enough to see over the top of the table!

Selling my art started in high school and trickled into college, but I never really worked at it very hard-life got in the way!  I decided to start re-working my designs and selling my goods on a more serious level about a year ago when  I was asked to be one of the darlings for Hot Rods and Heels. Since then, I’ve opened an Etsy store and I have a website dedicated solely to my work! When I’m not working my day job teaching art, I work on my designs and my inventory for upcoming events.

I grew up in a small town in North Dakota and I’m always very proud to say that I’m from there. I was struggling with what to call my new “company” and my best friend came up with Dakota Darling. I loved it! It really suits me, I think!
 
Q: When did your love affair with sewing and knitting begin?

Oh, goodness…I can’t remember NOT knowing how to sew. I was so young when my grandmother started to teach me, it’s just what we did together. It’s something that really spoke to me. I have some really funny “clothes” that I made for my dolls when I was about 6. They are hand sewn and made from some of the ugliest polyester pants you could imagine! My mother also has a pillow that I made out of an old sweater when I was about the same age.

I started designing and making clothes for myself when I got my first Singer sewing machine for Christmas. I think I was around 11 years old.  Once I had my own machine, that’s all I wanted to do!

Knitting and other fiber art came WAY later. Over the last ten years or so, I’ve challenged myself to learn a new craft every year. About 4 years ago, it was knitting. I bought myself the first Stitch N’ Bitch book, a set of needles, and a ball of pink yarn to get myself started. The moment I figured it out, it was like dancing! I love the clicking of the needles and the methodical nature of the beast. The only time I am sitting still for longer than 15 minutes is when I’m knitting. I can’t get enough of it!!
 

 
Q: You’ve become known for your Dia de los Muertos inspired purses, which are popular year around. What’s behind the current fascination with calaveras?

 I’m not really sure, but I think the state of the nation has something to do with it, to be honest. With the influx of the Mexican population comes the influence of the Mexican culture. People who have never been exposed to the celebrations and art that coincides with the Mexican culture are starting be exposed to it and its beauty. Here, locally, they are starting to appreciate it more and more.  Also, with hot rod culture on the up and up, skulls in general are becoming very popular. The idea of Calaveras and “hot rod art” becoming pop culture is kind of crazy to me…

Q: When not creating art, how do you spend your free time?

 I have two young boys to wrangle!! My kids keep me so busy! As I mentioned before, I’m an art teacher, so I’m at school from 7:30 until around 5:00 Monday through Friday and I do crazy stuff with my kids most weekends. My husband works out of town, so I am a married single mom rearing my boys practically on my own! When he’s home, we do things as a family, so there is really no such thing as free time!
 
Q: What does the future hold for Dakota Darling Designs? Any upcoming projects or events our readers should know about?

 I try not to look too far into the future. I am enjoying the ride!! My art and photography is starting to make its way here and there, so we’ll see, I suppose! I will have some handmade ornaments (and possibly some other art) on display at the Oxide gallery in Denton in November and December and the next show that I will be doing is the Gifts and Garters show on December 5th in Dallas. Holiday shopping season is around the corner, so I’m rolling up my sleeves and stocking up on yarn and fabric!!

Find out more about where to find Dakota’s goods at www.dakotadarling.com.